apt saaus bias sotbers 
: — wpe}. 
iste r ri ind . $3 


aie 


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rhs 


nH abs re r . Q eye rans : af ; 
ie hiy 1 


apheneameassaetcteeetcenacessreeteetcgairncestan teeta santa 


rant : 
Hints 7 tit 
cane sail ev Meena Te aa He i a EAE EE pad ea tate i 
pap . tisieftfeieje: re res os its sisteletepeiseeiaiisbateleyetebe 7 seswatt heer deh tasks 

i . 

tf 


ae st ihshahs ss eptidia pgs ie Huianeieiietttet sett See it ih : 
sit f bash hibicl ‘ 7. 7 “eh : as : . : . ni bf f pet: ; ; om 
pipes Pitiees | sishapeieinbajeissesaqerent epee tts 7 th ieidati Hat tists! ne 
: | at t S rae 134) . f th i ibs ot 2 asteq ea i) 3 ses 

, ats rages tere eeeaneeeeeeatetntenecedntaeaaayen  geAPAUSRS EA Sat gateoe ReCed Wage edesedestenecrcacebeaete egg eS 
St ae ee a Rana 

. t » f +h iets . ah i : popeied : : : ir ‘ ; H ah : ; be: 


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yegeis ; 
i Mhsiases sie sith 
rid aged 


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: R : , ‘ 4 ; ‘ tae it be ra ; 
abet tite! Sit Peis fHaiblefegsy fete + spare 
ttle Hs elites at ns rae ; % 1 i} : . ; f iby » } ait +) sey aye +Lhe es 
te : sh eciehe S278 ees bee prsas oes , ae . ; +4 t + 
oike theres pehey : sit hedee ’ ' ; : a : 


pape 
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: . ai : aa itidiey 

set rah | 3 tf a ose saneeeteatae ga : pete tateE 

Sane rea ints Ba aa ue ec ee aan ta 

teeisteeer ape | eit grtpeaet eeveaaee metas setanastrargiesneneneat ngb Tet Sreghdayaneasagederee see taaned sites | | 

| Bnav eautr sec reer er eee RT a re Le Tr 

piaiaieieeeian eat japbie aula eine edie re shirs bs ks Soaks ith pop ee bed ' ie ae Shisiapeee lt 

Peseactatanepeeteten patie ceueect RED ttt eet iit i ut beer tat at taeh rat 

bisptraratesnny Wisieitetitien foie tite 3 ties i eter sieiaber ties tet aperesepetessetereteen ats palgistetes it ; f pat 
irs ‘as aha 648 pa tmted Sinbad epee) . , , rakbibbeies air be> b kab sie be tis rt oF bored it : shbbsetsts busses. 
i riled “it iofete : seth sieht ana ie : * Hrs siete i is sai He 

ECan a ete ec tt 

, | is | page ee Sirageregeest Hit ; Ht eet ee pats : 


fisteetet 


ict 


{ wit 
itd 


=4 
Ce fe GaP ger: 


* 


+ 
ve} 


nee i L ' i dibisieisiah 


papersiege 
3 tn, titieiess 
+i tints " > + 4 


+ - | sath Hepiettrteatat iaeeeaeg a ctranbeapuenoeen ty 
pete i as re he . ri itieites pe 
tf te bia. he . bee 3 re ages ’ 

rb baoeesesia the rye hb micdessitjeieressfeiey 
ie 95 rs eh | yaad bonses Rex e cove ase 
* oy mie ¥ ] Chae + 
. ered wishes it dbsestibstdtse betes 
myer sy pey oY 4 ees fw : : : 
diedp yieteasererelert science eTceette ne a itsetite 
, : ‘ pape) 

o> 7 

prare Stancporeerstaets potpereiaces sf its vrrdee fatale dele 


imper 
Btiesn Pitcher "ii 


. “oils” seem rather 
bis eompany, owing to 


oe 
spl chan imperfectly ra 
gequsly conceived and colore 


eae S ” by Delacroix is 0. 
of this collection. The: Fron 
1d early one, not commonp 
conventional so far as purple 
‘nude, and blue sky patch are: con- 
put an uncommonly good specim 
is a water color by Kimsa “of 
a. ee. but cloging ‘“Eynd of 
: gs Work’ by Jules Breton, a good 
n of 1856 from the’ A. T. Stewart col- 
. @ well drawn and uncommonly 
d two Stro ee Cairone Menghaue | cis 


This is sale ‘will ig 


QO. jitte: sit se satfons the art) 
pi > buyers. 


LYALL’ SALE. 


n Water Colors, Eighty-five Oils, 
One Pastel Bring Over 


the sale. in Mendelssohn Hall last | - 
dnight of the collection of David C. Lyall of 
Brookly “nineteen water colors, cighty- 
and one pastel-sold for $251,045-¢ 

The hall was: erowded with dealers, sev- } - 
eral collectors, and a throng of sightseers }p 
when Thomas E. Kirby began auctioning 
off the eollection. The water colors brought 
rate: prices, but an approach to their 
aget aeeording to the experts, until the | 
it of the Millets was offered, and, [ 
e: in was a tiny bit.of water color, it ¥ 
we tfter spirited bidding, $2,300. f 
j 

| 

[ 

} 


. wie disposal of several of the oils ; 
ptices Uianced to sear. Theodore Rous- |. 
seau’s “The Oak-Sunset’ went for $5,100, : 
‘4 and immediately after a Corot, ‘Near the 

j Bea. * brought $6,200. It was understood | 
that both pietures went to Senator Clark, | 
yea Woe yen with his family, Another , 


se 
2) 
oi 
09° 
ce 
haa 
a 
St 
fee 
| 
ee 
O- 
o 
09 
S 
ch 
wn 
re] 
i) 
2 8 
® 
“} 
“8 
no) 
eee 
a. 
i 


iy iy Sunset on the River,’ ‘by Daubigny, 
was bought b y J. C. Carter for $11,500, and | 
there was tbe first burst of applause of | 


brought 
Jacque’s ‘“ Landseape and Sheep” | 
knocked down for $5,050, and then 
eorge Dowden would not be denied in i 
(the. ‘blading for Millet’s ‘‘ La Naissance du 

, Veau,” paying $8,600 for it. A little later, 

}after a fight that ended in his victory and > 
A the applause of the mettaael ogres Mr. Dow- 
|| den gained for the sum of $20,000 - Corot’s’ 


hg ent “ Le Bouleau.”’ 
an Marcke’s ‘‘ Landscape and Cuctle’’ | 
Eo to 5 ered & Co, for $6,700. It was» 
ibe lieved that they were buying for J. Pier-" 
Morgan. The same thing was report- } t 
: aids captured ‘ ac 
Gustave Cour 


ee 


pee es 


$250,000. 9~//~/9p3| 


Le 

i 

ee Co. 

E The "Surprised “Bather,” | Jean’ Prancois 


\ 
Se js a SOREL CS SS SSS 


ory t 
ean Museum of Art, 


urg Hie: allery. 


srs pth eee as 
iCarter, 
jits fina! 


_ destination. 
WATER COLORS. 


** The Sly” Butler,’ LL. Emile Adah: A. 
Blumenstiel . 


wee oe oe 


i The Convalescent, » Victor FL ‘Poltet! a. 


Ce Oe ee 


GH SGnANG Hol i sider 
*' The Cavalier,’’ Eugene Klimsch: Fisher, 
Pal et i e PIMA ons 64s Ria ceisilcts alae savei oie 
{* Landscape and Cattle, ** Thomas S. Goop-: 
Pe BUver: NOU PIVED 2s secs dey ee we 
3 The Bather,’’ Charles J, Chaplin; A. 
GE Me SOLES) Accs hey ako bin iiels gocher FNS 
“A Seashore Scene,'’ Birket "Foster; Jul- 
@ TATU PARRA A ha eg Sr ey yal at 
“Mending Baby’s Carriage,’’ Birket Fos- 
; ter; Julius Oehme 
bf Crossing the Common,”’. David Cox: ‘li 
Glee BI0. 4 ks ka eiea a bos one oe Ph. 


ee 


°F bs Souvenir of the Rhine,’™ Se M. vs 


i Purners WwW. -J. Walter faa eh ak kes 


a o Eeer Idyl,’’ E. De Beaumont; ik § 
axillespie. eto 2 ay 


Pe 4a Hh) ‘De, ‘Beayinpnls ae 


Ce et 


ies Phe air Bp lage? Maurice’ Aclalt E. 
EO gic td v6.0 oe ee a Re a ee Sh Serer ee 


TOCRTOWIBIES aoe se e's.e 
‘* A Picader,’’ Eduardo Zamaceis; Visher, 

Adler & ‘Swartz........ 
, Gardeuse des Vaches,’ 
) Millet; BF. A, Chaewian.: BAD OP RPE S ak, 
+} Water Carrier,” J. G, Vibert; A. W. 
i). SDE MRP Ene aI oP as alts Wiehe a uae A pre S98 b bie g aces 
ae The Declaration,’’ Attilio Simonetti; BE. 
N:  RMMMMR ahaa Pa, snag gals inp Seva cave gre Bm #-niievncaiooe $i 
Nose as Bedouin,” Gluseppi Signorini; R, A. 
, Cy Bmith ..,., 
} “ OIL PAINTINGS. 


\“*Bwe and Lamb,’ BMugen@s Verboeck- 
; hoven; J. G. Gillespie CEN Pore arene oe 
| ** Mother’s Pride,” “Paul Mba: Be 
||: SSR a ee ik Ure Kia mie Mine <eieieih eee pie sie 
‘* Om -the: ‘Bsopus Oreek,"" David Johnson; 
W. Rouss 
sf Sue ad Charis Emile Jacque; Harrison 
Ba Pa 1g Pe ee a PO ee rear 
ie Guitar Player.” “Raimundo. de “Ma- 
drazo; GG; Benjamin. vos ses ee eb ews 


ee ed 


ee eherreere nee 


ee eee ee ee Se 


yi4e BN. Life,’ Antoine Vollon; Glanzer & 


Sees ean ee seme se eee eees ee aneore 


Millet; Emerson ig eS obs sb eee eS ea i 
“The Card Players,’ hk. ] Rulpetez: FRO eS 
StrQahene visas ee as ei ee ae wee bee ek a oka 


|‘ Cattle and Lenduenee. ‘Anton Mauve: 


Bis A CRS OAs sari ie it 3 ae pis 6 atin Sah ny om 
i“ In the Garden,” Ferdinand Heilbuth; J. 


Guggenheimer 


deere bares teen er raereeeye 


1:** On the Serpentine,” J. James Tissot; 


Julius Oehme....... Soe si vhs see eRe es 
‘« Weneihg Masters,’ Li. sea ales TW de 
Walter ssa 
‘* A ‘Turkish Soldier,?? 5 did "Fabron; ib: Rey 


severe enreorense 


CHES BIS Ey cid See nw viv a eae a epee ld ey able 
‘* Landscape, ’’ Emile "Lambinet; A; Tooth 
DEAS Fo EY CR I eh TARP SPE UY Pe 
‘An ‘Interesting Game,’' ‘f. Ruiperez; 
MLS APO ee yas VA sie wk aed tne p ak dealers 


“The Sewing Lesson, eee Daregelas: J, 
) Ge KOORMS oe. cee tee cee eee eee eee e es 
. “Phe Doctor's “Visit,” G,. Péerus; J. q. 

CTEB DIG 5 online ale Mibicdin ok ak sip diate tee eo 9 

"! The Smoker,’ J. 5, "Madou; J. G. Gil- 


TESIDNG Hisesa Pk poke eileln Bila etm pig Minis wResh « & sale Suehegmae 
p “4 The Boudoir, ** Giovanni Boldini; 
j 


OPEL ae calaig Vcinie DA aie vie Oe ORR ReR 


‘The Coming Storm, > Jules Dupré; War: 4 


TiSON: De MMEVOR. sie ees oe ee wwii ae eer 
‘“‘ Grandfathér’s Present,’’ he B. Madou; 
Wi ER es) den Sa eee Rainier 


Tal} CAL OOE: 62 SOM 6 sh eigen 5 oe eis ala tea 


Tals GOING sei 9) 5s aie gine a ecb wok eden 
As sae. Theodore Rousseau} Max 


Ce ere ee ee ee ee 


oe ay Connoisseur,”’ 
SACRA ee heii e hala ea Waliee 2 es Te ae 
‘“ The Oak—Sunset,’’ Théodore Rousseau 


TVR A ale hobia xa ee, BOSS oo CRO) side 


/\*' Near the Sea.’? J, B,C. Corot: H. O, 


BOIMGS apache tees eens rene n betes nse ees 
‘Will You ‘Have One?”? Léon Perrault; 
J, Googenheimer ...cepeserere reverence 
“The eves te ‘Maurice Leloir; B. 
A TU ana PMR HUT G i's''5) GGG bale eligi he evan a haves lb ¢ 
** Study from ‘Nature. Ramapo,” David 


W., They it RT wae Mie 


“ Johuson tA, 
Saas ‘es “Penitent, Mi Megdalen,’: 7. Oi: fienner: Bias 


dlev eS a We oe i natialecignehs 


ae ints: tira bougnt BES: a 
UG TE) eee. , 
firmed. The final price for, ~ 
Neuville’ s “The Destruction 
Line ” was $12,000, the — 
that it was to go tO: Ee 


ghest figure of the evening was es 
aid for Jules Breton’s ‘‘ La Fin: 
This was bought by J. C. 
nd no information; was given as to 


| ‘* Entranee to the Mosque,”’ Alberto Pasi- 
“Forest. of Aa cna ik WoN YY: ‘Diaz: 


ie 
WA 
' t 


i 


ag 


ee 
ii 


tt 


E°S0O a, 


Bee atee 
EL. 35 Theo, Rousseau, 


: Re J.3.0.Corot, 

2. Jules Bupre, 
,3- J.B.C Corot, 
44, Bastien Lepage, 
(5. Eug. Fromentin, 


_ 6. Meyer von Bremen 


‘ie 


7. Jules Breton, 
8. Madou, 1871 
9. L.Ruiverer, 1865 
10 J.isHenner, 
‘li &. Diez, 

F. Heilbuth, 


pee S 
cf TBP cl Prenceis, 
| 14"). L Cerone, 


(hs? 


Daubigny, 

D. Johnson, 

(20 Jules Dupre, 
21 Jules Dupre, 


Fes} Theo, Rousseau, 


25 C, Daubigny, 


_ 84 JP Millet, 


85 BG Leedur, 
26 3.0,Cazin, 
27 2. wen, Kareke, 


L 
4 


; 28 Hebert, 


29 C. Deubigny, 

; lichel > 
$128. Delacroix, 

|, 32 Peerys, 

38 J. J, Tissot, 


m S6 R. Brascasgat, 


i ects 


eed Sas 
42 De 


,94 J.B ii 


33 Julep avpres— 
“186 o: aeehiany, | 
., 37 Theg,.. Rousseau, 


ee 
| '64 Polguae,. 


37 A. Sehrayer, 
4 38 E. Isebdey, 


a3] C. .?reyan 

40 E. LL. Preneaigs, 
Felouse, 
vig, Johnson, 
HAGOL, 

44 Avg,,,Sonheur, 


45 Jules Berean, 
i sf8 Be Cehots, 


47 “euriee Leloir, 


= 48 C.B.0"Neil, 


49 8. Leubinet, 
"80 E. Nieols.., 
51 Chas, Jacque. 


_ , 32 Hector Hanoteau, 


53 Proteia, 


iy: 


~ C@ttage,cre, forms 


: Evening,’ <j Ries 


< 


ke vd + Pius SF re F408 PSF ee ie iam b. 
Hy 


* 
& 


ie Fi: As 


7 de § # a per 
OF FL are 
a 


Upright landasep, f $ soa 

t Maghs a, tear, OY ee - 

Le aS Bil ; 6000 

Riwe d*avril, 2500 

Souvenir of Algiers, Salon '59, 4500 

sAlone, 1880 1800 

Fin du Travail, (8tehed ) 100¢9 | 

With pipe & beer, 250 

Duelling, ; vane 

Weeping Magdalene, : 

Wood Inte riGy (tute Brag mek apurt] 600. 

An outing, mother chiid “& dog, 200. 

1886, Evening Eandsep. B00, . 

Ambulatino, Merchant of Cairo 500G 

Springtime, in swing, largest 2500... 

Woodpath home, ROSS eee 3009... 

Garden of Love, . 1OOnG .... 

Evening wh. ducks, 50n9, ., 

Lendsep.,. ple ve 2H Q5i553 

Sunset, clouds, church in distance, $00)... 

Evening in a boat, 1260. . 

Autumn trees, RF, 1500... 

Cows, evening, drinking, 2500... 

Le Neiseance du Vean,. 12060: fo- 

Seoteh scene, . FEO. -¢3 

His Garden, . $50:...¢ : 

Cattle, Ss, 6000 |; Po Rary~ REF 

La Voix Celeste, 2000/52, £0224) 

largegreenriverbanks, 80:06, .... eFetet 

Coming storm, ...... _ $00... hiss 

Enlevement de Rebseca, 12000.. wid 
200... as 


Interior, 4. figreiy, 


The srtist, ae ; 
Plowing even, effect, 
Bull & dog, _ 
Arabs in action, 
Cardinal's blessing 
White 2 red cow,. 


Green landscape, eisucd 
Cattle in pasture, big trees, 
Seothemen knitting, 
Cattle in the At ream,» 
Shepherdess and. sheep, 
Edge of woods, . 
Over the garden wall, 
Discussing the, hanvest, 
Evening, ...., cesses 
Beating, tit agphete nts 
Shepherdess and. fl 
Geese herd 6¥ 55555. (22054; 
Prise d'une. Batterie, 

.in the wooda, 

eS a CRETE DE eT 


ek, 


Female nude 


$4 in 6S 2 & : 


Aa oe wen beg 


BAO, * ge 
1500, Gea sy ee 
1990. sex ¢o : 
6000, 

12000, 72 x76 


a ee 


fig > ; toMy i ty 


Landsep.  __ er f: “¢ oo wii EF eet -<°) Fe) 


Sunset effect, _ 


< dette Pia 
oe 4 


(“SS B..Hishedy | The: Valley, 9s oo. oe 
66 4« de EReuville, The-.Prench- wars, : 


eg a 
MOE cide cee ecstyecyeses Pra re ee ee Pare 


‘ Bords de Riviere,”’ Cy FP, Daubigny; 
«GandveapeAutumn,” Jules Dupré; B 
Galland Dog," . Re. Brascassat; 3 
ae oe Wea} her: “Capel Curig, 

Wales,” B, . Leader; bbs 


| 


er ewe eg 8 eo F:8 


Y Milin 95-50 .eees PRES RE ON Mn = 
ur Tandscape,’” David” ‘Johnson; ; John 
Talmage ...++- Muti aigtateieu Ole eles eaten 
es savirons de Rome—Suiset,”” L. 


FO aoe ere eeEE EE 
“Sunset on the River! GH. Davbigne 
oe a Swllignt,”’ Ge BN “Daubigny; “Durand i Foe 
: Tne Confessional,’ "R's. Zimmermann; 


|S ee ite Rabo pmeu ners Biryep wary | 3: a LO 


. R, 4 : i 
/** Sampling Wheat, ee: 'B. 0 Neil; Cee 
lse ee heey} a ete 
Pantone de Plombieres,”’ FF, lL. Fran- 
gais; Emerson MeMil lin. bape e assess teens 600- 

“Sheep and Pasture,” R. W. Van Bos- 


Ce ee 


kerck; Mr, Stanley......,..eseeer 450 


ie: Landscape,” Louis Cabat; Fisher, Adler 


PAVE Caikc coed Si tiae seis Bises oo ees 175 
; «Hhatly Morning-——Finistere,”’ L. G. Pe oe 
» louse; H. Schaus... och Cece 


ok dscape, Georges "Michel; H, Sctiaus. 14,300 
; a Pa hctdess, Jules Hereau; J} SB: 
“Meditation,” Sue Mayet, Von. Brem- Gy 
en; Julius Oehme.......syeeressenseaces 2,050 
“The Forest ae ie dt B. Cc. Corot; 
Julius Oehme.....e.-s. de eke 5,600 
“Landscape and " Sheep,” Charles ‘Hmile 
Jacque; Julius Oehme.........essses ops 5,050 
“Tia Naissance du Veau,’’ Jean Fran- 
liet; George A. Dowden...s.5.+ 8,600, 
gois Mi 4 1 
“ gaat Festival, OND ON, Dia2t ade as 
¥ ee ee iiésk, an J, B, c. Corot; George ” 
powden ... 2s 
*« Nothing Better “to “Do,” "Erskine “Nicol: 4 
EIS: CHCHING sis ieee 8s asics vie oe sade ha sae 1,700 
**On the Seine,’’ L. Ga. “Pelouse: Herman 
SEHAUS sass 


ee eee 


Dy Oy (Carter... cei peccs cee ece stead enn 44,500) 


_inyestments, after. all. 


ee 


‘In the Art Gallery,” dosé Frappa; “Julius | ae | 
po ORIG UR Foes 3 ee 7 | 
‘* Despatch Bearer,” “Rudolf Efrnst; ‘Re M. 
DMIREE ee ei Ga Sk enh d ¢ tine Mais eee 300 
} ** Landscape and oaks a a ‘Georges Michel: 
| “John FF, Talmage. shia 675 
yf! Club bey: Erskine Nicol; "Max Blei- 
WH oa ake oh cece ca hw eee kes mete Secs 615 | 
he $4 Landscape and Calita ts Emile. Van a | 
Marcke; KnoedlerndiaCo....4-.- 2 200 | 
“Summer Tine: idea 2 Auguste Bonheur: 
}- Julius Oehme...... 2,050 
, ‘* A Pretty Model,’’ ‘Vincente Palmarali; 
ee aIW RS LGEVY: aici’ 6's oy 9 ide ayece'e me oke 09.6 PERO aes 900 
| Old Beaux,’’Carl Decker; Emerson Mo- | 
VRE 095 fs sate G/T a Oh ake ORES SOE RS 225 
“Ths Breken Pitcher, cd “Léon Bonnat ; Bd- | 
Mee MVArG TASTES s oes bas ad ewekiede ee Tae woe 3,000 
~ +**Rire @’ Avril,’ Jules Bastien- -Lepage: “A. 
eth BAMSONS sole os eis bas Ha Sd 2100 
»** Binvirons of Ornans, se Gustave Gourbet; 
PAIS OCHMO. yes Ve lei cease Pea c cak 6,200. | 
‘(A Strolling Merchant,’ J. L.. "Gérome: | 
Prensa Cr PON DELO . 4.08 ose wies sue abs 6 ei ecele 6,000. | 
-.** The Cardinal's Blessing,’’ eee Isa- ; | 
Rey). “Gugeshheimer. 0 ey a cs 3,500 
i Cattle,”? Constant Troyon; J: geal Gil- 
BR te Ais, Waa ous 0 dine eS E ea pn icd 8,400 
ee “bar's: Spring,” Cy F.. Daubigny; Stan- 
CEE FMS aia a eV a Gin ope eS 4,200 
is Be uanis ‘of: Pere ai " Bugene Fromen- 
PM he. Carters.” O86. ois i oe hecac oan 4,200 
is Prise aUne Batterie, a ee Shara 
es i RNG UE. Pike es pas ccc Sete eka. 1,100 
‘ La Fin au Travail," ‘ Jules Breton; J. C. 
REA MEO LN Ce bit EU aS Ce bea aes ak 25,500 ¥ 
“L'Mnlevement de "Rebecca, xis Eugene 
Delacroix; Durand Ruel, ooo 5.5 op 11,100 
KAt The Destruction of the Telegraph Line,’’ 
Alphonse De Neuville; H. QO, Schaus.,.. -12,000 
*°Gardeuses d’OQies,” Hectar Hanoteau: A. ano | 
REO SR ork vie acct s RON EW aie cacao au 6 bs 300 # 
“ A Sortie,’ Adolf Schreyer; “John A, 


, Hagegin meeM Melee Solin \cad BAe Urea Rta SEBEL Sie oon ¥ bata 13,900 » 
he ee the Stream,” W. A. Bouger- ona 


i _, Emerson MeMillin Riaieve POE we Waeiele wheel wiaignk 
* Moissonneuse,’’ Antoine Yolton; - Emer- 


fom PROM MES OEE owen OME ae 1,500 | 
mR the Mediterranean, Oswald Achen« | 
bach; W. J. CONN UT Seo hem iii cg ota potato: 800 | 
Is It for Me?” Otto Hrdmann; name } 
RCE TVET ar rh. Oy i ania ac TOs ay f 150 | 
x “Springtime,’’ Pierre Auguste Cot: F. J. 
Goodwin; $3, at Bay Pane eee rae» 8,100 
—— Se 


- inevitably to feel at least an indifference z 
- ipate that the sale will provoke the brisker ae) 


. stanch clientéle of admirers, are repre- | 
| sented by extremely important examples. Ks 


: 4 Cot’s “Springtime,” the allegorical cone & 
et gettin of a elie and oa ane seated: 


was remarkable for the | 

by the pictures of *he | 
school and the men usually ‘asso- | 
With that school, such as 
Daubisny, _Jules Breton, and ‘Troyon, 
4 though the | * Sortie,’” by Schreyer, was sold | 
for $18,900; the « Destruction of the T i 
graph Line," by de Neuville, brought $12,- | 
~ 4000, and “Carrying Off of Rebecca,”’ by | 
_ MPelacroix, ..$11,100, Strange to say, the | 
‘Pupil and cdpyist of Millet, Jules Breton, | 
took the highest sum when Senator W. A. 
elark paid $25,500 for “La Fin du Travail,’ |. 
Torot camenext, when “ Lé Bouleau ” went ~ 
_ Ffor $20,000, Senator Clark also secured the 
beautiful Daubigny “ Sunset on ‘the River? | 

for $11,500, the’ same painter's” “ Bords de } 
{Riviere a for $8,860, . and Rousseau’s e 
dey Sgiacanc for $5,100. Instead of rising 
Prto fhe tens of thousands, the famous | 
Springtime,” by Cot, only reached $3,100, | 

id Bouguereau’s ‘“ Crossing the Stream” | 


fell to Mr, Julius Oehme for is 
7 Ben's 5400, baa” went to Mr, Lo ‘ 
o0th - oo Groans, 


bane ope, gaia 

& ‘ Landsea 
‘Jacque, for $5,050, -t ae oe 
yeetest Path,” by Corot, for $5, 
“t e same painter’s “ Near the § 


ing Cattle,” .a@ pastel by - 
eo and his on, s y, «s 
Calf"’ brought’ $ ao por 


paid for Garonae ne ie 
schant,’? wag a 18 oy, STO wien 


nowadays, but it is an excellent eM 
she early Mb ane bid Sou ot ale 


re 
a and Bt Seng set? tape te, ee old 0) 
3:00, The 105. oils, : pastels, and weieie 


ses came to. $250,745 s 
apiece. Picture seni +o a pretty ‘2,388 i 


e bs; ibs : anther Semapsepass oer. 
i 2 : 
Me 


AR a 
Pon aera i re ree 


‘THE LYALL « COLLECTION. Fo 
Pe ioe PICTURES... | 
es), / 03 


Until Feb. 10, an exhibition, pee to. 


Aad bts, 


‘lleries of the pictures and other objects 

art collected by the late Mr. David C. 
‘Lyall of Brooklyn. 

The collection is one that will” interest % 
'@ great variety of people, not a whole, 
iperhaps, but in’ its number of ‘separate 
appeals to individual preferences. For 
it does not seem to have been formed as a 
result of personal convictions on the part of 
ee collector and scarcely. fof; the 


rat intimate companionship. h 
‘is a collection founded upon. names 
especially some of. the names mo 


century. Many of them stood. ee prin- 5 
ciples, respectively so different that to 
admire strongly some of them is almost 


‘toward others. 28S, 
But for this very reason one may anti 


interest among purchasers, the more 
‘that many of the names, which have the 


Tosuggest at once such a picture— 


LivshL 


ing is so futile as the} 
rk into separate pigeon- | 


isopally, a6 if to try and prove what 
id do in the more popular and higniys 


“he mainly demon-* 
tely the figure was out-7 
whereas’ within his) 
of still-life he has never! 
From the small example, 


- 


stn and exquisiteness | 
sense of texture and that all, 
stry which can convert the 
into a medium of emotional 


is, indeed, an exceedingly 


subject that will stir competition | 
ruction of the Telegraph Line,” | 
of the Franco-German War,. 
played his part; painted with | 
of that actuality which made 
test painter of war of the) 
he spirit of war as well as of) 
B.. It er the MS 
interest of being his last important 
Schreyer’s “Sortie” certainly will) 
or, since it contains conspiguously | 
ities of grace of movement and, 
harm of color, yet to me it does not convey) 
16 masculine breadth and the suggestion 
f having been the necessary product, of | 
ig impulse that characterize a 
‘of his works. AM 


{ 


‘such lack may also be detected | 


is syne the : ech eh veri 
’56 as the catalogue has it); 

dee lie eet to Holland, while i 

already studying cattle, but had. 


nat ESS 


t 


| 
| 
| 


ained force, 


E 


“by ptionally fine speci-. 


vharmony. . Oy ed 
' How Sidney it ig to compare this” 
work of the great Romanticist, who went to | 
Scott, Goethe, Shakespeare, anywhere out- { 
‘side his own environment, for inspiration, | 
‘with the modest realism and affectionate | 
regard of local things displayed in Bastien- | 
Lepage’s “Rire d’Avril.” It was his special | 
réle to make intelligible through the sweet-_ 
‘mess of appeal of his own character as | 
well as of his painting, the brusque, more 
} Virile, yet often antagonizing, art of Manet,’ 
‘and so to set an impress upon the history | 
of modern painting. He died before he’ 
reached Raphael’s age, and, his works) 
being necessarily rare, so delicately charm- | 
ing an example as this one should attract) 
considerable attention. I link it, in my | 
recollection of the exhibition, with a lovely | 
little Cazin, “Mon Jardin.” The title ex-| 
plains the loving intimacy of detail, and | 
Iyet the dainty impressionism with which | 
they are rendered, as being things too | 
| obvious to the artist to call for more than 
a suggestive reminder. The color scheme { 
is equally reticent and subtle, and the! 
‘picture has, moreover, a charm of heart-/ 
felt improvisation, in a gentle strain of) 
punforced, perhaps even unconscious, | 
etry, rippling forth from an easy and' 
habitaal familiarity with the spot. 
The collection is fortunate in the posses- 
sion of thrée very choice Corots and four 
-Daubignys; among the latter being a “Sun-. 
set on the River,” which for fulness of! 
‘feeling and deiicate comprehensiveness of i 
suggestion is an extraordinsrily beautiful | 
}example. Other precious Morceaux are, 
‘Millet’s “La Naissance du Veau” and the, 
jorayon drawing “Gardeuse des Vaches,”. 
‘while, hanging together, are three little: 
»pictures, respectively, by Jules Dupré,’ 
Diag and Rousseau (Nos. 39, 42 and 46),) 
-which in small compass, suitable for cham- 
»ber decoration, illustrate the distinguishing’ 
qualities of these artists pe remarkably: | 
Among other pictures that will be noted” 
are; An unusual and very handsome Fro-: 
‘mentin, “Souvenir of Algeria;” a dainty » 
little Boldini; “The Cardinal’s Blessing,” fy 
iby Isabey; “Landscape and Sheep,” by! 
Jacque; two fine Michels; an early water) 
color by Turner; an excellent Van Marcke,’ 
‘and a Gérome, The last named, “A Stroll- 
‘ing Merchant,” is unusually good in color! 
and texture, conceived in a thoroughly) 
artistic fashion, and painted with unsur-| 
passable delicacy and precision. 
, The exhibition will remain open until the 
morning of the day of sale,,Feb. 10. 


aa +s 26 


f genater Clark. eines for “La Fin ‘ay The 
wail,” “Breton, $25.500—811,100 for 
L _- Belaeroix’s. “L’Enlevement de Re. 
_-——sCheeea,’? Which La Farge Praises Highly. | 


e In picture prices at New York auctions 
| this winter the extraordinary has become’ 
) ordinary,and to relate that the paintings 
_ and water colors collected by the late David | 
©. Lyall of Brooklyn, which have drawn | 
thousands of people-te- the American Art | 
. Galleries within the last week, were sold 
_ for $250,745 in Mendelssohn Hall last even- 
ing is only to say that another highly 
R ' successful sale has been added to the sea~ 
_ son’s list, and: to Thomas EK. Kirby’ 8 re- 
_ markable:series. } 
There were in the Lyall collection, which 
years ago used to attract thousands of art 


nas tee aS 


pictures, of which nineteen were aquarelles, 
Senator W. A. Clark of Montana and 


New York, who was present, paid for Bre- | 


\ 
ton’s “La Fin du Travail” $25,500, the 
| highest price of the evening: The starting 
| bid for, this canvas was $10,000, or only 
| $1,100 less than the final bid for Delacroix’s | 
| “L’Enlevement de Rebecca.” : 

When the Delacroix was put up Mr. 

Kirby read” a letter from John LaFarge 
praising | “the * ‘painting very highly and | 
expressing the hope that an American | 
museuni might become the possessor of so 
fine an example the master. The picture 
was bought by N. Durand-Ruel for $11,100. / 
Senator Clark bought several other pic-— 
tures, among them the Daubigny, “Sunset | 
on the “River,” which was eagerly sought< 
by bidders:’: For this canvas he paid $11,500. _ 
The fine“€orot, “Le Bouleau,” was bought | 
by George A: Dowden, after a stiff com-— 
petition,--for $20,000. Millet’s “La Nias-— 
sance du Veau” sold at $8,600, and his draw- | 
ing, “Gardeuse des Vaches,” at $2,300 
- Among other well-known men in the com- 
pany of buyers were J. B. Haggin, E. Dwight | 
Church, Emerson McMillen, John A. Hoag- 
land, who only cecil sold his collection 
of pictures, Jefferson M. Levy, Louis Mar- | 
ey Dd. Guagenhou, I. Guggenheim and 


. Smit. 
The pictures sold, their painters, buyers | 
and prices. follow: | 
b “WATER COLORS. 4 
a 1—"The, Sly Butler,” Adan; A. Blumen- : 
ee BoE CoP RED RUT Este AS A RE SEES MO re ab Se STF $90 — 
©» 2-~“Convalescent,” Pollet; H. O. Seixas 90 | 
a 8—“Cavalier,” Klimsch; Fishel, Adler ‘& RR 
[Sea AEaWy 2 ACR aN STR OY ORCL eNO eR 110 
4—* Landseape and Cattle,” Cooper; A. D. 
AD Pocus ce Mee Oi asl lavetsatesaiain Wie ie a at otal eevee Nes 120 
oss: eee ‘Bather,” Chaplin; A. Tooth & 
“Eg IN Tay SR 2 IS Sp aS as) a a ee EA 260 ¢ 
@- Beashore Scene,” Birke t Foster; Jultus 
SECS ES CEN NGI IU PEAR ERD a) OR 820 
7—"Mending Baby’s haaihlauce Birket | 
¥ POGUE NSS ULATS OCMC) ck coin Ui gleisiataiuen sa ss 390 | 
ae &—"Crossing- 1 Common,” David Cox | 
OEM Ws Otc ed: vice koe) aude heap ties vials 2704 
aoe ‘Souvenir Ot the Rhine, *“'Turner; W. J. 
Be MV ELOOP eee ds hiss RMA teen od mine eeines nae 900 
-40--"A> Summer Idyl, at Beaumont; J. G. 
ig Gillespie... BENG RAPED, i es akin uannniae 180 
“Parrot,” Beaumont; H. Seixas... 210 
ae ‘Chiding Cupid,” Worse A, Ss 
“Rossin BPRS M Oe tga SSA SUS AS Wasa ad RECS 210 
i Bae TMhe-Fair Angler,’ ’Leloir; E.D. Church, 246 | 
V " —“Reeding the Pigeons,” Leloir; E. D. 
TORS Ge Ree De one 200 
‘Pioador,” Zamacois; Fiskel, Alder | 
ghee arz... Pinks earth af atonal Mow nye te a any Tt gtie 170 | 
46—“Gardeuse des Vaches,” Millet; F. A. 
Saughee ERR ruby odd was 6 4 Valulelabe dal dveia el) © 44 2,300 | 


ae ; W. Thayer. "550 
B. The: Declaration,” “Simoneitl; 1 BRE 8 


a raetueeeameromeeerercere a 


lovers upon. pilgrimages to Brooklyn, 106 | 


Pe ee 


TH RO Spike 2 
—“On the'Ser 
ei" Reneing. Master: : 
g—"A “Pint ‘bie we 
CHILE ya's <p bg Hew oe eee ae ens ees creas 
33— Lande ape,” “Lambinets Teo & 


2 
J 
t 


“Son: 
sea ‘iietestinig Game,” 


ae peers 'Siadou: wa. ila soot ae 
/ 88—*EPhe Boudoir,” Bol oe 425) 
s9—“Comin “Storm,” eee Hyp 

 40-—“Grand arene Pree: 

} J. Walter s..-5. 

ie Ade Entrance to. se 

i Tooth & $01 

i 42-5" shine 


47-~"Near the Sea,” Coro a 200. 
48—"“ Wil Casa opi HD oscar i gen 


Guggenheim. FUG por ck aie I "aCe 
weil: Lelo 


Leen ae soon 


R — AL Clark. _ 6,100: 
feted Daumteny: We A: “4 


resent eet ee ee 


52—"Pioughing 


538—‘Bords de 
Clank aa 
\ aie Lpmdace Rew AIRS 


\ 


Lea . Mel oe Boek ire > chs see 
57—" Lh a Toeneny. ¥ PF. Talmage. 
Pct ietrone de Rome,” “Francais; Ras 


,_ MeMillen : 206 
—“Mon Jardin, * Cazin; A, Reisinger.. Sexes) OU 
oo ‘Sunset .qn the River,” Daublgny; hie 


oe Ce ee ee ee 


A. Olar yg e.- Bie le lav eite, Dy Mee emLe! eee OUNRTD akan a Vv if 
G1" Spee ae) Daubigny: Durand ‘Ruel... ore 0) . 
é2—“Tie €entessional,” Zimmermann; R. M, as. 


Haan yo cscs ie tes) Veeco hee 9 ee ep igen renS 
68—"Saitt ling Wheat, ” Q'Nell; ©, H. Roleey * 
sire ye pi de ‘Piombi res,” Fran, als; 


Mee VER Mem joc tse <-e.s59° ai piains bo ieee ce eal an ene 
ae “Sheep E6P gud. Pasture,’ * Van Bosker: : 
“Stan wig etaltay sjegenp ele talaga Mode tlabeles tai annEN 
66—“1 andacape,” Gabat; Fishel, Adler & 
Roa! bas.ta sh ip SEES PDBu oul ouheees RES es aS 3 
67-——‘Early Morning —-Finieseye(” bers 
i. SHBG eye Sob eR Ee eet 
6s‘ Landscape,’ "Michel; J Pere. 
69—“ A Shepherdess,” irae 


70—‘Meditation,” Meyer: J. Oehme Weve 
wi— The" Forest Path,” Corot; J. Oehme.. 5,6 
72--“Lendseape and Sheep.” Jacque; J, 
OCDME «oes ieee eee eas eee eee eee es 
73—"La Naissance du Veau,” Millet; G. hee 
DO Wet soos cs oe ae ened Oe 
74 nein Fe stival,” Diag: 9 J.B. 8. Haggii. 3, 
75—“‘Le Boul ean,” Jorot: G A. Do 5 720/000.00 
Or peining Better To ‘Do,’ Nicol; aan eon. 
77-—-"Onthe Seine,” Pelouse; £8 FOenn ee is 
78—“In the Art Gallery, Frappa,; t 700 © 
79-—“Despatch Bearer,” Ems aan, 300 
s0— “Landscape and ‘Snege. Michel: a. * 
Talmage... ie cnserer eee ee eter esse er eanes 675 
_ 81 “Olub. Law,” Nicol; M. Ble siman 
- g2—“LandScape and Cattie,” ‘Van Marites 
Knoedler & Co 
tae ‘Fime,” SHEN Bonheuts J J. 


Pee er ee ee 


a ey 


ee ee ee ee a ar oy 


Par en ee ee ie ee ee SS) 


: yee y Pale 

: a6——"The” "Broken “Plicher, *"‘Bonnat; | ¥E... 

} MeMt Hen . Sosa iad steeie Peete RRA © TERRE ce 
81 “@Avril,” Aco acLapees ia 


re ae ee ee ee a ee are 


+ tynene egelete Sees ge aa es ee ee ee ge pe ew 


che Cais 1 pile pon UaCehat tain Eon Oat oy 
91—“Cattle;” Troyor: D. Guggenhe pene Gee 84 
, eee Spring,” Daubigny; D, Guegen- iy 


i 93--“Souventt of Algeria,” Fromentin; a 
am 1 A 


5. “Edson Andis got pore at 3 

litent . Magdalen” for $4,200.  Sen- 
ator Clark's first. purchase rt eines = 44 
Carter” hou Rousseau's ‘3 “Piguenings 


rere Fair) mone ‘to 


iaand for $13,900, and Mil- 
Ta Nalssance de Veau'!) 


as cap red aes ine Aw, nn Dera, 


e ie 


1 rm B COLLECTION OF THE ‘LATE 


ON VIEW DAY AND EVENING AT 
i, THE AMERICAN ART GALLERIES 
_ FROM WEDNESDAY, FEBRUARY 
a FOURTH, UNTIL THE MORNING 


a Be ale , ‘THE - DAY OF SALE, INCLUSIVE 


BEGINNIN G PROMPTLY AT EIGHT O’CLOCK 


Copy 


oe Ee (ag t AP % 
EDITION LIMITED TO FI 


tH 
i 
* 
' + . 
' 
a 
F 
* 
i 
- 
’ ” 
h eS hoe a 
; : sit 
: 


a 


ILLUSTRATED CATALOGUE OF 


PAINTINGS, PASTELS 
AND WATER COLORS 


COLLECTED BY 


THE LATE 


DAVID ©. LYALL 
OF BROOKLYN 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


THE SALE WILL BE CONDUCTED BY 
THOMAS E. KIRBY | 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK: 1903 


COPYRIGHT, 1903, BY THE AMERICAN ART ASSOCIATION 
NEW YORK 
{ALL RIGHTS RESERVED] 


Photogravures by A. W. Elson & Co., Boston ; Photographic Negatives 
by Chester A. Lawrence 


Press of J. J. Little & Co., Astor Place, New York 


INTRODUCTION 


For a number of years the collection of pictures 
owned by Mr. David C. Lyall of Brooklyn was the goal 
of a pilgrimage of very many lovers of art, and par- 
ticularly of those whose predilections were in favor of 
the French school. He began his collection with the 
distinct purpose of assembling as thoroughly a repre- 
sentative group of pictures by notable French artists 
who have flourished during the past fifty or sixty years 
as it was possible to obtain by careful selection with- 
out overloading it with a multiplicity of examples of 
any one painter or by expanding the collection beyond 
the limits of a reasonably extensive private gallery by 
_ the purchase of large exhibition pictures. With a few 
exceptions the works are, thus, of cabinet size, and no 
one of them is, indeed, too large to be properly placed 
in a room of the average size. Bouguereau’s “ Crossing 
the Stream” and Cot’s “ Springtime,” both of them 
very well-known paintings, are the largest on the list, and 
two of the most important and interesting of the figure 
subjects are Jules Breton’s “ La Fin du Travail” and 
De Neuville’s ** The Destruction of the Telegraph Line: 
An Episode in the Franco-German War.” The first of 


these was painted for Mr. Lyall, and has never been pub- 
licly exhibited except in the Salon of 1887. 

It is a frequent experience of those who give commis- 
sions to artists that the very fact of painting to order 
tends to weaken the impulse to produce, and the result 
is, more often than otherwise, somewhat disappointing. 
But in this fine work by Breton we find all the charm, 
all the sympathy and all the refined artistic qualities 
which distinguish his best pictures, and he himself 
frankly states his opinion in a letter in which he writes: 
“This picture has been very much praised by my col- 


> and in a second communication: 


leagues of the jury,’ 
“You should see how the French and the foreign press 
praise this picture, which I regard as one of my best.” 
There is a certain exceptional interest attaching to 
De Neuville’s picture, from the fact that it is the last im- 
portant work executed by him before his death, which 
occurred in 1885, the year after the picture was painted. 
In his letter describing the circumstances under which 
the work was undertaken and produced, he says: “ The 
incident is described in a very vivid way by Ludovic 
Halévy in his book, ‘ L’Invasion.’ ” 
to say that, for artistic reasons, he changed the uni- 
forms of the Prussian dragoons, and also omitted some 
of the unpicturesque features of the village of Etretat, 
where the incident occurred. Many of the figures in 
the composition are actually portraits, a fact which adds 


not a little to its historical significance. 


And he goes on 


pa 


ra 


a the callin, for 1 Mr. Gate ae bought di- 


ae 


isa petdarkeble eon testifying to the ex- 


hail. taste and judgment of the late owner. With 
1e Millets, the Rousseaus, the Daubignys, the Corots as 
nucleus, not to mention examples by Courbet, Michel, 


érome, Delacroix, Diaz and many others, this A covers 


he. difficult to find a rane The few English and 
~ American pictures in the collection make it seem prob- 


able that Mr. Lyall, if he had lived, would have studied 
~ these schools with the same interest which he showed for 
iz the French. 


F. D. MILLET 


Liare 4 : j ; _ pe ) 


ae Bo 


es sai qh a al 
wukey ddbe te: 4 Baba) Hera lerae 
Ho Teele! ap PR Sta Baia ee 
nore alert Bene’ Reba deases Ties 
Cabin’; sciepatdir tn oAicns 
Bvenk- opty ware aie vemeae 
Beek “is: | Saat ua ‘ 


SEER PRET ig 


hs 3y tapes “slest it? te Peete 


ce MG a ‘he: pais voit 
poe £4 ‘setae e334 sie aay | 


S. EAL (hie ay ‘ae ae ne Pret oe 


Gs, 


WATER COLORS, PASTELS 
AND SEPIA DRAWINGS 


ee 


L. EMILE ADAN 7 


I—THE SLY BUTLER 
Water Color 


Seated in an armchair beside a table covered 
with tea-things and decanters, an old butler, in the 
ornate livery of the eighteenth century, leans back 
and empties the remnants of a decanter of white 
wine down his throat. His mistress is Just open- 
ing the door behind him. In the foreground is a 
newspaper hastily thrown down on the floor. 


Signed at the right, L. fue ADAN. 
Height, 14% inches; width, 10 inches. 


VICTOR F. Fouey ——- 
¥ 4 Cee WV GLa q 


2—THE CONV ALESCENT 
Water Color 


A half-length figure of a young lady in a 
black, fur-trimmed wrap is languidly seated in 
an easy-chair upholstered with mauve silk. In 
front of her is a Japanese table with red-lacquer 
tray top, holding a decanter of wine and a plate 
of cakes. In her right hand she has a Japanese 
fan. 


Signed at the right, V. Poet. 
Height, 9 inches; width, 64% inches. 


EUGENE KLIMSCH 
CLC wee , Fe 


en Pye TC he 


3—THE CAVALIER | ( 
Water Color 


A cavalier in deep orange-velvet costume, 
with yellow sleeves and blue stockings, is seated 
with one arm around the waist of a serving maid 
who is lighting his long pipe. On a cask behind 
the cavalier are a pewter tankard and a glass of 
sack; in the foreground are cabbages and various 
kitchen utensils. 


Signed at the left, Euctne Kurmscn. 
Height, 54% inches; width, 4 inches. 


THOMAS SIDNEY Coos 
ped Teg 
4—LANDSCAPE AND CATTLE 
Sepia Drawing 


This is a drawing in sepia of a cow, three 
sheep, and a lamb in sunlight in a broad, open 
country. ‘The sky is simple in design, with a 
few rolling clouds near the horizon, and the dis- 
tance suggests a region diversified by woods and 
low hills. 


Signed at the right, T. S. C. 
Height, 8 inches; length, 10 inches. 


CHARLES J. CHAPLIN 
a a 
5—THE BATHER 


Water Color 


A young woman, partly undressed, is stand- 
ing on the edge of a pond in the forest, her head 
turned away as if she heard some one approach- 
ing through the wood. Behind her on the ground 
are the outer garments she has just thrown off, 
and near at hand is a basket of roses. 


Signed at the right, Cu. Cuaprin. 
Height, 10 inches; width, 6 inches. 


BIRKET FOSTER 
Pig se : Oi 


6—A SEASHORE SCENE 
Water Color 


On the downs above a seaside village two lit- 
tle girls are teaching a young child to toddle 
across the turf from one to the other. Beyond 
the group is a cottage half hidden by the slope 
of the hill, and, farther away, sheep are feeding 
in a field at the edge of a cliff. In the distance is 
a line of blue water with white sails, and over all 
a delicate gray sky. 


Signed at the right, ™B. R.W.S. 
Height, 5 inches; length, 7 inches. 


Parntep ror Mr. Lyart. 


BIRKET FOSTE iy p 
47 w Mies 


7_MENDING BABY’S CARRIAGE 


Water Color 


A small boy, seated on a stile beside a country 
road in England, is busy trying to repair a 
broken toy cart. In front of him a weeping child 
clings to her elder sister, who, carrying the baby 
on her right arm, watches the boy at his task. In 
the distance are a roadside cottage and a stretch 
of pleasant landscape. 


Signed at the left, B. R.W.S. 
Height, 5 inches; length, 7 inches. 


Patntep ror Mr. Lyatt. 


8s—CROSSING THE COMMON | a 
Water Color 


A. broad, open moorland in Wales with a 
deeply rutted cart-path between patches of grass. 
Two children, one with jug in hand, are strolling 
down the path toward the bend of a brook in the 
foreground. In the distance are houses, cattle, a 
few trees, a line of sunlit hills, and the gleam of 
water. In the sky is a large mass of cumulus 
clouds. : 


Signed at the left, D. Cox. 
Height, 9% inches; length, 14 inches. 


Patntep For Mr. Lyattu. 


Tio? te cy ae. Wee Ok de) CY G a 2 6 eis! Sa POG Wed 
fr eee ES Cee Paths ae eae S45 Bie as ra a Put 
J . +; 
SS 4 ia — t ra 


J. M. W. TORN 


Va ais 
9-4 SOUVENIR OF THE RHINE 


Water Color 


heey a i a 
i ye 


£¥ 


oan 


The junction of two streams in a gorge — orate 
among the hills. Ruined castles crown the steep 2 ? 
crags which overhang the river; a slender tree, | 
growing on the rocky bank in the foreground, ~ 
where are seen two kneeling figures, rises against __ 
the hillside and the sky on the right. In the ex- 
treme distance looms up the form of a high 

-mountain. 


Se ees 
ae ae 


Signed at the right, J. M. W. Turner. 
Height, 9% inches; length, 12% inches. 


> 
- 


woisog 09 P UOSIT MF 


_ py ~¥. DE BEAUMO . Ty Gllegk 


10—A SUMMER IDYL 
Water Color 


The figure of a maiden half draped in orange 
pink and holding a flageolet in her hand is seen 
seated on a stone step in the midst of a rank 
growth of flowers. In the distance is suggested 
a fertile valley, beyond which the horizon is lost 
in the summer haze. 


Signed at the right, &. pz Beaumont. 
Height, 9% inches; width, 6 inches. 


ee aa 
11—THE PARROT 


Water Color 


The nude figure of a young girl is seen ‘mee oh 
on a pile of draperies thrown down carelessly ona 
red-tiled floor. She is swinging by a string ne 
tached to his perch a red parrot, balancing in a 
ring hung from the ceiling. Behind her is a 
yellow curtain, and on the floor near by is a pair 
of green slippers. | 


Signed at the right, E. ve BEAUMONT. | ; ‘- 7 2 is 
Height, 9 inches; width, 6% inches. — 


JULES WORMS | 
= a My om Optdare 
12—THE CHIDING CUPID 


Water Color 


_ Before a seated figure of Cupid on a simple 
pedestal stands a girl inSpanish costume of black- 
ribbon headdress, yellow jacket, and blue petti- 
coat. A carved swag decorates the wall behind 
the figure, a richly upholstered chair is half hid- 
den by the dress, and a plant in a glazed pot 
stands beside the pedestal. 


Signed at the right, J. Worms. 
Height, 14% inches; width, 10 inches. 


\ ditty ofa Thay Pat \y a, at La aS 5 Ss 


E MAURICE LELOL 
13—THE FAIR ANGLER 


c | Water Color 


A young lady has tied her boat to a tree over- 
hanging a broad, quiet stream and, half kneeling 
in the stern of the boat, she holds her fishing rod 
and languidly watches the float in a bit of open 
water among the lilies near the bank. She is 
dressed in a red-striped dress, and a blue and 
gray rug hangs over the side of the boat near the 
bow. a : we 

Signed at the left, Maurice Letorr, 1885. 
Height, 10 inches; length, 14% inches. 


Patnrep FoR Mr. LYALL. 


a MAURICE BLP AE 0 bh de 


14—FEEDING THE PIGEONS 


Water Color 


In a garden rich with flowers, where stands 
a statue of Leda and the Swan on a low pedestal, 
a young lady has thrown herself on the grass to 
feed the pigeons which flutter around her. She 
wears a pink silk sun-bonnet and a salmon pink 
dress, with a black shaw] falling around her hips. 


Signed at the right, Maurice Letom, 1885. 
Height, 10 inches; length, 14% inches. 


PartntTep ror Mr. LYALL. 


15—A PICADOR 


Water Color 


as a picador in broad-brimmed hat with riseeem 
a flowered jacket with silver ornaments, yellow | 
breeches, and thick leather leggings tied with — a 
red cord and tassels. Over his a shoulder he 
carries his pike. 


Signed at the left, Zamacots. o 
Height, 11% inches; width, 8 inches. i 


V7 


16—GARDEUSE DES VACHES/ 


k: * me Pastel 


Doce +) a eg ea 
Tee 


A peasant girl in blue jacket and peltiemin 
with her head and shoulders covered by a white 
shawl, is seated on a little knoll busy with her — 
knitting, while a friendly cow is grazing close at 
hand. In the distance is a village, with a rank of 
tall, slender trees beyond an open meadow. 


- 


Btgned at the right, J. F. Mrtzer. 
Height, 114% inches; hci 17% inches. 


. G VIBERT 
mae 8 7? pr Se? we y- vias A 


17—W ATER CARRIER 4: 


Water Color 


A young man in white shirt and full petticoat 
breeches, a red sash and sleeveless jacket and 
orange turban and socks, stands holding a green- 
glazed jar while he is waiting for a second recep- 
tacle to fill with water from a bronze tap in a 
rough brick wall. 


Signed at the right, J. G. Vrsert. 
Height, 14 inches; width, 10 inches. 


ATTILIO SIMO TI 
ro fan e KO) v2 Ce 


18Sa—THE DECLARATION 
Water Color 


Stretched at full length on a sofa in an atti- 
tude of careless ease is a young lady in Spanish 
dress, shading her eyes with a small fan, while 
an old beau, flower in buttonhole and hand on 
heart, leans over the sofa behind her. The acces- 
sories are a leopard skin on the floor, tapestries 
on the wall, a gilded table with silver ewer and 
china cup, and a rich screen and curtain. 


Signed at the right, Arritio Stmonert1, Roma, 1874. 
Height, 14% inches; length, 18% inches. 


prea 


GIUSEPPI SIGNORINI 


Jos OD A Comat 


19—A BEDOUIN 


Water Color 


A stalwart Bedouin is standing like a sentinel 
in the desert, with his long gun held in port 
position across his body. The brim of an im- 
mense hat, lined with red stuff and embroidered 
with barbaric patterns, frames his head with a 
mass of color almost as large in proportion to the 
figure as an open umbrella. 


Signed at the right, Grusep S1GNoRINI. 


Height, 27 inches; width, 17 inches. 


OIL PAINTINGS 


E. VERBOECKHOVEN | 


20—EWE AND LAMB 


A study of a freshly sheared ewe, who stands, 
half ashamed of her appearance, on a bit of rough 
ground near a rude fence. Her lamb lies in 
front of her, and a butterfly has just alighted on 
the ground beside her. 


Signed at the right, EvckNE VERBOECKHOVEN, 1847. 


Height, 44% inches; length, 5% inches. 


sees a 
on 


Cpe ae PAUL BOR > hae 


21—MOTHER’S PRIDE 


A peasant woman in dull pink jacket, red 
kerchief, blue apron, and striped green petticoat 
is seated on a bench in a rustic courtyard peeling 
cucumbers. Beyond her, equally relieved against 
a sunlit wall, is her child, with a doll and various 
toys. On the left is a gate in the rough wall and - 
on the right a string of drying leaves. 


Signed at the right, Paut Boum, Mtncuen. 


Height, 6 inches; length, 8 inches. 


a * eae 


/_  * DAVID JOHNSON a. 
| 22—ON THE ESOPUS CREEK 


A typical bit of American river scenery in 
summer time, with a great clump of elms over- 
hanging the water and cattle seeking the shade 
or cooling themselves in the stream. In the dis- 
tance is a humble farm-house, and across the 
river are flat meadows and woods. 


Signed at the left, p "16. 
. a er __ Height, 6 inches; length, 8% inches. 


CHARLES EMILE JACQUE 


| 23—_SHEEP oe, | Vy, 

A farm scene with a flock of sheep, some of 
| them feeding, others lying down in the shadow 
: of a tree. Here and there are friendly barn-yard 
| fowl. In the background is the farm building, 
where a cackling hen interrupts the peace of the 
hour, and beyond is a suggestion of meadows and 


hills. 


Signed at the left of centre, Cu. Jacque, 1867. 
Height, 6 inches; length, 7% inches. 


RAIMUNDO DE. MADRAZO _ 
2 G0) eh ae Le epee 


24—A GUITAR-PLAYER 


This is a study of a Spanish guitar-player in 
a typical costume of blue and black, seated in a 
chair with his left leg thrown back, and holding 


with his left hand his ribbon-bedecked guitar, 
resting upright on his left thigh. 


Signed at the upper left, R. Maprazo. 
Height, 8 inches; width, 4% inches. | 


Georce I. Sentry Coiiection, 1885. 


7 
Lat 
4 


me avi 
25—STILL LIFE : Hora 


ANTOINE VOLLON ay 


of violets lying on a yellow book, and an pid: mn 
gold watch and fob casually placed on a piece of 
deep green velvet gave the variety and richness 
of color, texture, and form which attracted the 
artist to paint this bit of still life. — ates. 


Signed at the left, A. Votton. 
Height, 9% inches; length, 124% inches. 


UOT OQ) Pp UmSTT MV 


a 


7 i 
oe ‘ 


i 


Bs ip Ve fF her ae through a tangle of tall reeds, in the 
! aay Sree: 


i ae A ca idly CBee against a deep shadow in the 
| _ masses of gray green. 


¥ Signed at the right, J. F. Miter. 
pore. Height, 7 inches; length, 9 inches. 


a L. RUIPERE es 
Bes 7." : ; in 


4 


.. 


" 


27—THE CARD PLAYERS 


A group of three men interested in a game 
of cards played between two of them in a su- 
perior sort of a cabaret with wainscoted walls 
mellowed by the wear of years. The players are 
seated at a table, and one of them is referring a 
doubtful point to a friend who stands behind, 
pipe in hand. On the table are a few cards, a 
coarse-glazed pitcher and a glass. The sole deco- 
ration of the interior is an engraving in a black 
frame. 


Signed at the right, Ruirerez, 1861. 
Height, 10% inches; width, 8 inches. 


28—CATTLE AND LANDSCAP. 


The sky occupies two-thirds of this composi- — 
tion, and across it stretches a low band of clouds _ 
broadening to the upper left-hand corner of the 
canvas, suggesting the moist atmosphere of the 
Netherlands. A wide meadow reaches away to a — 
low line of distant trees, and here and there peas- 
ants at work indicate the busy season of the hay — 
harvest. In the near foreground are two cows, 
the focus of the picture. Ke 


E Signed at the right, A. Mauve. : 
Height, 9 inches; length, 14% inches. 


a ee 


FERDINAND Sais H 


29—_IN THE GARDEN “Tf 


On the soft grass carpet of a field sloping to 
the river from the garden of a summer residence, 
a mother, in black gown and hat and a white 
wrap, sits, holding a small child in her lap. Near 
by les a brown dog half hidden by the rank 
grass. Beyond the little group are a rose bush 
covered with pink blossoms, the corner of the 
house with trees, and a stretch of distant river 
landscape. 


Signed at the right, Hensorn. 
Height, 11 inches; width, 7 inches. 


30—ON THE SERPENTINE 


This subject was evidently suggested by a 


walk in Hyde Park on a summer afternoon. In ~ 
the foreground are a lady and alittle girl leaning 


against the iron railing along the terrace over 
the water, and a man seated on a lawn bench. 
In the distance is a high-arched bridge with foot 


passengers and the familiar hansom, and, below, 


the quiet water reflects the arches and the ars 
trees beyond. 


Signed at the right, J. J. Tissor. 
Height, 11% inches; width, 8 inches. 


y 7 ‘et > 
& TiwAg or : + 
; a 


; reece we do not look for Pnrcite sites or 
bie suggested tragedy. In a vaulted guard-room 
ey 7 pe: an old chateau, seven men-at-arms, in a variety 
a é fe ioe military costumes, are passing a leisure hour 


= masters are evidently rehearsing a parry, the re- 
- 7 sult of which is not so doubtful as to attract the 
_ interest of a pair who are playing cards on a 
bench in the background. 


Signed at the right, Rurrrrez, 1865. 


| 2. as 

p= a i ——— Height, 10 inches; length, 13% inches. 
1 Pele be 

ie: 

[= 

” «7 

t ee 


‘ 


re 


7 har. 


- with a fencing bout between two experts. The > 


Be... 


» 


Ay 
A 


jog le Eo 


32—A T URKISH LDIER 


A study of a Bashi-Bazouk, or irregular sol- ae 
dier of Turkey, in full costume, drawing his 


yataghan with his right hand and in his left hold- 


ing his long flintlock, much ornamented gun. He 
wears a tall red fez with fringed kufia, a blue © 
jacket, a red sash with broad leather belt, white — 


breeches, and black gaiters. The background is 
a plain gray wall. 


Signed at the right, L. Fasron. 
Height, 13 inches; width, 7 Y% inches. 


ee . amare hae a Vee 


383—LANDSCAPE 


Four tall plume-like trees, reflected in a sheet 
of water, rise against a late afternoon sky which 
is covered by lowering clouds. Beyond the trees 
are a meadow and a single house, and on either 
side of the pool are clumps of willows and reeds. 


Signed at the right, Ene Lamerer. 
Height, 11 inches; length, 15% inches. 


while a third gentleman in a red coat is ieee - 
over a chair watching the game. | 


Signed at the left, Rurrrerez. . ae 
Height, 12 inches; width, 9 inches, 


Grorce I. Seney Coutection, 1885. 


H. DARGELAS 
peer? ¥ A) Lhe 


35—THE SEWING LESSON 


This is a simple domestic scene, where a 
mother, in red kerchief, blue dress, and pink 
apron, is seated in the full light of the window of 
a modest interior, teaching her little daughter the 
rudiments of sewing. 


Signed at the right, Darcrtas, 1866. 
Height, 14 inches; width, 10% inches. 


ie . nO PACRUS 


386—THE DOCTORS VISIT 


A Dutch interior in the middle of the seven- 
teenth century, with walls of Spanish leather, a 
hooded fireplace, and furniture of the period. An 
invalid lady in a red jacket and yellow petticoat 
is seated in an armchair, while the doctor in som- 
bre suit of black velvet is feeling her pulse. On 
the left sits the husband, and behind stands the 
nurse holding a porringer. 


Signed at the right, C. PEcrus. 
Height, 13 inches; width, 10% inches. 


ae ‘ 
’ 
‘ 
a 
‘ 
~ 


‘ : 


37—THE SMOKE 


An old man in a broad black hat, a ruddy 


brown coat, gray waistcoat, and blue breeches ig 
seated, facing the spectator, stick in hand and — . 
short pipe in mouth. On the floor beside him is — re 
a pewter mug, and the background is a simple | 
gray wall with a door at the right. 


Signed at the left, Mavov, 1871. 
Height, 10 inches; width, 714 inches. 


om: 


GIOVANNI eed DINI 


388—THE BOUDOIR 


A young lady in a rich soft blue gown, with a 
profusion of lace and ribbons, is seen in her bou- 
doir, apparently surveying herself in a mirror, 
part of which appears in the picture above a richly 
gilded table. Over her right arm, which is 
gracefully supported by a long malacca stick, is 
draped a black silk mantle. The surface of the 
polished floor is broken by reflections of the wall, 
of the furniture, and of the figure itself, and the 
notes of red in the flowered BROWN aes Tepeated 1 in 
a vase on the table. 


Signed at the left, Bont. 
Height, 12 inches; width, 9 inches. 


AW Elson & Co, Boston 


Ne 
. 
; 


ae 


# 


bs 


“ 

* 
. 
f 


JULES DUPRE 


Bo 


39—THE COMING STORM 


The vivid light from the setting sun has burst’ 


through the storm clouds, flashing on their 
jagged edges and repeating part of its bril- 
liancy in the reflections in a small pool in the 
foreground. ‘The landscape is simple and som- 
bre, with a single building, an isolated tree, and 
a figure or two on a broad path which leads across 
the sandy ground to the pool. 


Signed at the left, Jures Dupre. 
Height, 12 inches; width, 14 inches. 


Rosert Graves CoLLEectIon, 1887. 


EAN BAPTISTE MADOU 


a . The nae ather, ie on his cane, is alae 
geo toy horse just out of reach of the child, while the 

_ father and the half-grown daughter look on with 
= - ‘interest. | 


hi ae ; 5.3 
‘gape pap i ‘Signed at the left, Mavov. | ee 
4 4 eek 4g ' Ae 
a ee eee : Height, 1414 inches; width, 12 inches. 
% > cam oe 
; Gerorce I. Seney Cottection, 1885. ‘ 
| sited | 
| ‘ ; om 
{cot = ¢ 
sn 
os 
t at ry ; 
} eae 
I i oa ; 
| 4 es 
| 34 ; 
He | 
" | se ‘ 
| 
- 
; 
1 ee 
| 
a 7 
v ¢ ; 
i 


a 


41I—ENTRANCE TO THE MOSQUE 


The corner of a partially arcaded courtyard 
in the Orient, with a white gateway making a 
strong note in the line of rich-colored roofs and 
spandrels on either side. A few figures are re- 
lieved against the sunlit walls and the gloom of 
the entrance; a gray Arab horse with attendant 
natives stands in the foreground to the left, and, 
beyond the screen of arches and gateway, a group 
of trees on the one side and the dominating mass 
of a mosque with its minarets come out strongly 

- against a simple blue sky. 


Signed at the right, A. Pastnt, 1878. 
: Height, 12% inches; length, 16 inches. 


J. Apner Harper Coxitection, 1880. 


Mer AE tee Lie Reh tna RRL Aine Ye) uty 
He a 4 } ; a OE MAAT | re 
Fy ele be Pe ah 


NARCIS 
ep rg. 
42—FOREST 


VIRG 1 


FONTAIN EBLEAU 


A remote nook in the forest, with groups of — : ne 
hardy trees and a canopy of dense foliage, a ee 
through which, in the distance, is seen a sugges- i y “4 
tion of summer sky. The light from behind and — 
above the spectator falls sharply on the aS ets 
tree-trunks, here and there in the confusion of 
undergrowth and grass, and on small pools of 
water and a gray boulder. 


Bivaed at the left, VENTE Dua. 
Height, 12 inches; length, 15% inches. 


: 


RSL AL LI TT IT nT 


- LANDSCAPE 


PALER DP sk ee 8 ann (PPO ete OO 


THEOD 


es 


48—LANDSCAPE 


A gently sloping hillside covered with sturdy 
oak trees and rough boulders is touched by a 
strong flood of warm light from a late afternoon 
sky, which brings out the red tones of the autumn 
foliage and throws a deep shadow over the fore- _ 
ground. To the right, against a sunlit meadow, — 
is the figure of a peasant woman, and in the dis- 
tance beyond the meadow is a rank of dark trees 
and a line of blue hills. The sky is broken by 
warm gray clouds alternating with patches of 
pale blue. ; 


Signed at the left, Tu. Rovssrav. . 
Height, 12% inches; length, 14% inches. — 


uOSIT MW 


Pee Ree ae hk ale eee ar 
Tg - rl t : ay J 7 » Dac fy 
: a ba yd ot ae 
¥ py i 


Sepa JULES DUPRE 


44—SUNSET ae a 


Low-lying meadows, with a quiet bit of water 
in the foreground echoing the tones of a sunset __ 
sky; the mass of a great oak rises on the right; = 
to the left a farm-house among the straggling iu 
trees, and the figure of a woman in a boat is re- 
flected in the water near the middle of the pic- 
ture. The light from the sun, which has just 
dipped below the horizon, defines the long lines 
of clouds and diminishes in vigor until it loses it- 
self near the zenith. 


Signed at the left, J. Dupré. 
Height, 12 inches; length, 18 inches. 


r 


yf 


rs 


CT 


4 BR 


] 


; 


ANY FARM 


we a 


= ‘aa 
a * a 
~~ me: 
_ i ~e ~ 
& _ 
ms 7 pa 


> RN cath Ni aaa: 


Amacom 05 OE as ST een Re 


bo. 


JULI "Delete 


45—A BRITTANY FARM 


A thatched cottage in a gladed country, with — 
rounded masses of large trees and a bit of open 
ground with a winding path leading to shady 
meadows in the distance. The peasants are busy 
at their out-of-door occupations, and restless fowl 
are seeking food near the cottage. | 


Signed at the left, Jutes Duprt. 
Height, 8% inches; length, 16 inches. 


uoisog 07 Pp UISTT Me 


4 
oe 
gt 3 
Fee 


_ THEODORE ROUSSEAU 


A sunset with a richly tinted sky, againsbae 
which a rugged, solitary oak is in full relief, 
perched on a rocky eminence. Beyond is a glint — 
of distant water in a rough country, and in the 
foreground is a broken heath with boulders and he a Me 
ragged undergrowth. aa 


Signed at the right, Tu. RovssEav. 
Height, 12% inches; length, 16 inches. 


. 3 B.o0Gnme 
620d tO ee 


47—NEAR THE SEA 


A corner of a daisy-sown meadow, where a eB 
peasant woman is watching her cows. Agamt | 
the sky on the left, and casting mysterious shad- 
ows on the rich grass, rises a line of slender trees, bt 

60 which is continued in perspective across the mid- : ae 
| | =) dle distance, where, through openings, is caught 
6 PM y 34 a glimpse of the sea and of a low headland 

against a glowing sky. 


Signed at the left, Corot. 
Height, 17% inches; width, 14% inches. 


a iy 
ae 
+ 

a) 

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i 
q 
- 
ay 
pial 
‘Soa 
eg 

af ae 
is 


ti 
\ 
’ 
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‘ 
‘ 
Lowe 
! Ke 
Lf 
a 
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1, © 
a & 
F : 
hi 
‘ 
ts \ 
v 
7 aK 
: ake 
ao t 
‘ i 
hy 
J ‘ 
ws h- *. 
2 


ae life-sized head and shoulders of a 

aired, dimple-faced child who holds an 

tightly clasped in both hands, as if afraid 
her invitation would be accepted. A simple, 
dark, indefinite background relieves the head and 


figure. 

: " oe at the upper left, L. Perrautr. ae ‘ae 2 
oi ee ha : 
| eg =? Height, 151% inches; width, 13 inches. 
| 5 

a! oe at 


‘ 
fy 
m 
| A 
| 
‘ : 
rs 
ne 
| 
| ¥ r 
| cdl 
ce 
| Bt Cie: 


; MAURICE LEI 
3s CM 


49—THE FAREWELL 


doorway of an old chateau throwing a i to her 
lover, who, having just left her, has crossed. a 
tangled flower-bed and is clambering over a wall” 
near the corner of the house. The costumes are — 
toward the end of the eighteenth century. 


Signed at left, Maurice Letom. . 
Height, 17% inches; width, 144% inchaks 


Tuomas Rem CoLiEection. 


P u0siA MV 


RAMAPO 


ROM 


ST | 


: 


-_ 


Se oa 


a 


ee ad 


ae 


er oe 


_ 


(aoc h uth Sah hel Rs TE LS RSE SEs ARC PRI ee 


oe ES 


mt 


RE COT TIE AE 


ae 
=f 
oe 34 


50—STUDY FROM NATURE, RAMAPO > 4 


A 


ros DAVID Le a 


A summer afternoon in a pleasant, rolling ul 
country, with a sky full of slowly moving cumu- — a 
lus clouds. There are hills beyond a distant sheet 
of water and a dense wood bordering a flower- 
strewn meadow, with here and there a large tree, 
near one of which is a small group of figures, 
suggesting the proximity of a country residence. “ 


Signed at the left, IP 76. 
Height, 13% inches; length, 21 inches. 


52 East 23d Street, February 18, 1890. 

Dear Mr. Lyall: I write to express my thanks and gratification 7 
at the selection you have made in your purchase at my sale, Bei’, ja 
* Meadow at Ramapo.” . 

You may be pleased to know that it was one of my pets, and Be 
regarded by me as one of the most entirely successful studies . 
from nature I have ever made. I am more than delighted that it 
has found such friends for a resting-place. 

Sincerely, 


(Signed) DAVID JOHNSON. 


JEAN JACQUES HENNER 


alee 


pa cs 


f 
| 2 
t 
1 
{ 
; 
f 
i 


i ea a ee 


PELE 


Fa ale 


oe 


mt 


POU RE Ges cn, Se en hae ae 
PP os nas ¥ 


JEAN J Phebe 
A dtd. 
51—PENITEN {8s sie 


In the gloom of a cavern, or a deep rocky ra- — 
vine, under the strong light from above, the fig- 
ure of an auburn-haired young woman, nude to 
the waist, with blue drapery tightly wound 
around her legs, crouches with her head in her 

hands. She is seen in profile, and, above and be- 
yond her, through an opening in the rock, ap- 
pears a small patch of simple blue sky. 


Signed at the left, HENNER. 
Height, 16 inches; width, 12% inches. 


BAF ia wg lly 


Py: Oe 


of 


voy 


ny 


ASU le. ie es a ik ey 


AY el, Geile: alee ea ee 


T 


sy i 


ae Sse ; ; rank Ae et 


HEODORE ROUSSEAU 


Le ee Po Me i as eae gee ees ee 13 
7 / ng OE ‘ Tae tie . 
RS aes 1 ad ee oe pee ~ ® : 
f . Oy ioe MH ‘ Sieh! - 
igh fy nas ae ae 
y ia x at Ay ie 
, Ps, Ya a : 
¢ = ; ht ae u 
: } v ey 
; v,| (te. ae 
. =p ae Biehl Ss 
: Poesy 
Vou a PF * 
¢ Ae 
a e 5 * 
¥ * ere 7 é 
¥ *h be : 
; a1 hs =a Mo 
i Y Eee 
- o ee 
ih s 
a a &, 5 


Piet pa BAD 


52—PLOUGHING 


- Through a narrow rift in a stormy sky, where 
the brilliant sunset light breaks through near the — 
horizon, comes a strongly reflected glow which, 
in the mystery of gathering twilight, touches - on 
sharply a great white farm-horse drawing a 
plough held by a peasant. Among the great 
clods of newly turned earth is seen the stooping - 
or kneeling figure of a peasant woman, and be- 
yond are green meadows bordered by woods, with — 
here and there laborers at work. The strong blue ~ 
and red trappings of the horse make a focus of 
intensely deep and rich color. The foreground, 
which is divided by a rough path, is covered with 
strongly growing weeds and wild Howes 


Signed at the left, Tu. Rousseau. 
Height, 15 inches; length, 18 inches. 


UOISoG OF PUCSITZ M PK 


4 Cor Da 


53—BORDS DE RIVIE 


This is an intimate corner of a fertile country, i : 
where a broad pool fringed with trees reflects a 
summer-morning sky. On the left a peas aN 
woman is washing clothes at the water's bas Be 
and another is standing near by on the gently 
sloping, grassy bank, holding ared cow. — 

en 
Signed at the left, Dausicny, 1869. 
Height, 12% inches; length, 23% inches. 


jbo" ies 


54—LANDSCAPE—AUTUMN 


enriched by ruddy-hued undergrowth. A ole a 


E 


A group of sturdy oaks, the advance guard he 
of a forest, occupies the middle of the composi- yi 
tion in silhouette against an early autumn sky, 
where patches of intense blue break through the 


masses of rolling clouds. In the distance is the! 
dense and sombre forest, and the f oreground i is 


es 


Pee 


of strong light touches the figure of a peasant — 3 
woman on the left, flecks the surface of a small __ 
stream beyond, and accents the prominent tree-— or 
trunks. 


Signed at the right, Jures Dupre. 
Height, 16% inches; length, 23 inches. 


. BRASCASSAT 


ome 


ree = 


aan! 0 aT - Cal ae 
ae eee aw BR 
3 a = * - es pe ae ae 
a; 2 ew : : as te “= ie ee 
- - ~ elect : +) ~ 
4 a bs a > a 
i E om 
4 : 


wy 


d 


* 
a 
= ~ 


pop J: BR. BRASCASSAT a 


BR 
# = 
aie eoelin 


65—BULL AND DOG 


i eee ins TRE Sy 
= 


large tawny-colored dog, is endeavoring to strike 
his tormentor with his horns. With lowered — 
head, and angrily pawing the earth with his near __ 
foot, he faces his active antagonist. In the back- 
ground, to the left, is a clump of trees, in the | 
shade of which a flock of timid ais. is scamper- 
ing away. 


‘ 


Signed at the left, R. Brascassat, 1858. 
Height, 15% inches; length, 20% inches. 


Henry Prosasco Cottection, 1887. ~ # dh] — & A E MS — 


UMSIT "OD P UOSTT MV 


Rat Gre 


i 


SE kite antes eleind | 
Bes iy? B. W. LEADER *% 
al 


5 


a B. W. LEADER 
56—STORMY WEATHER: a 
CAPEL CURIG, NORTH WALES 


Ve , 


a A scene among the low, rugged Welsh hills, 

where a rapid stream runs between low banks — 
and is met by a foaming tributary just below a — 
rude stone bridge. A farmer is driving a herd of _ 
black and white cattle across the bridge and a 
fisherman with his boy and a dog is seated on the 
river bank. Low clouds drive over the hills and 
threaten rain. 


Signed at the left, B. W. Leaner, 1885. . 
_ Height, 18 inches; length, 26 inches. 


Paintep FoR Mr. LYALL. 


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= DAVID QENEON, 


a ad eles. “I Softly the evening came. The sun from the eastern horizon 
like ama gician extended his rhe wand o’er the landscape.” 


bir ee | Through a park-like country a herd of cattle 
ef he ‘is se ‘seen wandering at sunset toward a pool in the 
| gee _ foreground. Under the great rounded trees in 
ie re - the middle distance, which form the chief feature 
____ of the composition, are seen the stragglers of the 
i herd, and on either side are vistas of a wide dis- 


| tance with frequent clumps of large trees. On 
the right, moving along a track which winds 


f arm cart. 


Signed at the right, Dp. 


~. 


Height, 18 inches; length, 26 inches. 


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i ¥ away over the broken ground, are laborers and a_ 


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58—ENVIRONS DE ROME—SUNSET 


The Roman Campagna, with the noble lines 
of its low hills and plateaus, its arid wastes and 
its poisonous marshes, has fascinated many art- 
ists. Francais shows in this picture a small reach 
of the sluggish Tiber, a rough bank with shep- 
herds and a flock of sheep in the foreground, and, — 
across the river, a hill and a scorched, low plateau 
with a castle-like building. In the remote dis- 
tance is the mountain range in the mauve haze of 
late afternoon, when the new moon is just visible. 


Signed at the left, Frangats. 
Height, 16% inches; length, 25 inches. 


*“ParintTeD FoR Mr. LYAtu. 


: e _ JEAN CHA 3 


59—MON JARDIN 


This is a study of a corner of the arkiee s own foi 

garden, enclosed by a tile-topped wall with an | 
espalier and a tall, irregular hedge of trees. On cae 
the left is the corner of the house, with daff odils | a We By 
growing near the base. Lines of garden Sah e 
divide the vegetable beds, and the figure et 
laborer is seen in the background. 


Signed at the right, J. C. Cazin. ' ; 
Height, 18 inches; length, 21% inches, P =: a 


MSOF 0D Pp UusIT MF 


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IN THE RIVER 


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S FRANCOIS DAUBIGNY 


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60—SUNSET ON THE RIVER 


The sun is setting behind an irregular lme of — 
trees on the left, which form the furthermost  —_ 
limit of a broad expanse of water. On the right __ 
is a slight elevation above the marshy borders of 
the river, with two cottages and a group of slender 
trees, underneath which are two peasant women, 
one kneeling by the water’s edge.. Four ducks, 
paddling in solemn procession toward the sunset, 
form a prominent feature in the near foreground. | 


Signed at the right, Dausiany, 1874. 
Height, 15 inches; length, 26 inches. 


New York, Saturday, May 7, ’87. 
D. C. Lyall, Esq.: 

Dear Sir: My friend and myself spent a.delightful hour in 
your gallery this afternoon, and I wish to return our thanks for 
your courtesy. 

Among many beautiful pictures in your collection, upon the 
possession of which you are to be congratulated, there is one of 
the most exquisite Daubignys I have ever seen. It is the small 
green one on the right of the gallery. 

My friend, who lives in Paris, and is familiar with every pri- 
vate collection of note in that city as well as in London, said, “ It 
seems strange to come to New York for one of the best Daubignys 
ever painted.” Very sincerely yours, 

W. H. FULLER. 


art 


ES FRANCOIS DAUBIGNY 


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fie ee DAUBIGNY eae 


61—TWILIGHT 


A screen of tall poplars and other stately 
trees is massed in the middle distance on the right 
against a low-toned evening sky. On the left is 
a gently rolling meadow, a distant village, and a 
low line of hills. A peasant woman is driving 
her cows over the meadow to water them at a 
great pool which stretches across the foreground, 
its calm surface, broken by weeds and rushes, 
reflecting the tree forms and the multitude of 
varied rich tones of the clouds. 


Signed at the right, DauBieny, 1874. | 
Height, 15 inches; length, 26 inches. — 


? Spl 


E con PESSI ONAL 


é os woman in blue jacket and full, aiiped apron 
ae over a black petticoat kneels with clasped hands, 
th apparently confessing some sin to a Capuchin 

~ monk who, breviary in hand, is busy preparing 
_ for mass. The floor is of red tiles, and besides 
the confessional, and a great painted cupboard 
____which occupies the left of the picture, there are 
be - many other accessories, mostly articles used in the 
| eelebration of mass. 


Signed at the left, R. S. Zimmermann. 
7 Height, 17 inches; length, 24 inches. 


k Senator Laruam Correction, 1878. 


Pre Bis NEL 


68—-SAMPLING WH Olt 


A little episode of village life. On a bench in 


front of a rural barber’s shop a well-to-do farmer, 


with his collie dog by his side, is seated between 
two laborers and is winnowing on a newspaper 


spread over his knees a head or two of wheat 
which he has selected from a bunch offered him 
by a little girl who has been gleaning after the 
harvesters. In the shop are seen the barber and 
his customer. Other accessory figures find their 
places in the shadow along the street. 


Signed at the right, G. B. O’Nen. 
Height, 18% inches; length, 23 inches. 


Fy ge pn 


doom ¥ 1. ERANOAIS q 


64—ENVIRONS DE PLOMBIERES 


pect. On the right a highway crosses a stone 
bridge in the shadow of bordering trees; toward — 
the foreground a river winds and disappears un- 4 
der the arch. To the left, in contrast with a deep — 
shadow on the grass slopes, is a hillside in the 
glow of late afternoon. The steam from an ap- — 
proaching railway train, which is almost hidden 
by the foliage, gleams among the trees. There 
are pedestrians on the highway, peasants in the 
fields, and a flight of birds across the simple ex- 
panse of sky. 


This is a scene of characteristic severity of as- f a 


are 


Signed at the left, FRANgAIS, 1886. 
Height, 1644 inches; length, 25% inches. 


:. “This shows a wide vista over a gently rolling 
Rig eS ale leading to the sea. The foreground is all in 
hex pt _ shadow, and sheep, newly sheared, browse under 
a rat low trees beside a curving path. In the sunlit dis- 
_ tance are straw stacks, farm-houses, and the lines 
of enclosed fields, and far beyond is the blue 


, ~ stretch of the sea, with white sails and a peaceful | 


ches + Rr 3 7 : 
bed Signed at the left, R. W. Van Bosxercx. 
rf : a we | Height, 19 inches; length, 29% inches. 
Keg 
, 


: .; LOUIS CABAT 
es LL eee 
66—LANDSCAPE : 


set 


A winding country road, which crosses a shal- 
low brook in the foreground, leads away toward 
an avenue of great trees which extends far into 
the distance. On the left is a vista of open 
country, with a mass of rolling white clouds in 
the sky piling up from the horizon. 


Signed at the right, L. S. Casar, 1888. 
Height, 194% inches; length, 23 inches. 


Patntep For Mr. Lyatu. 


: LEON GERMAIN PEL 
Poo Gah : CWA fo 
67—-EARLY MORNING—FINISTERE 


Against a simple gray sky and the mass of — 
a distant range of wooded hills are opposed the 
shadows thrown by a flash of sunlightonaclump = 
of trees overhanging a building and on the shrub- 
bery of a steep hillside along a country road. On 
the left a placid stream, with marshy banks, © 


stretches away among the trees, and in the road, 
which with a sidepath breaks the mass of the 
green turf, are several peasant women. 


Signed at the right, L. G. PEetouse, 88. 
Height, 18 inches; length, 25% inches. 


PAINTED FOR Mr. LYAtt. 


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GEORGE 


Le eae ts Bm ge eR a, 


’ 68—LANDSCAPE : 

: This is a wide prospect over the valley of the 
Seine, showing a populous and fertile country. = 
The sun bursts out from behind dark clouds with 
a broad flow of light which illuminates the dis- 
tance and sweeps across the sky to the horizon. 
The foreground, with small groups of trees, farm 
buildings, cattle, and a peasant’s cart, is mostly in 
shadow, with a note of strong light here and 
there. 


Height, 21 inches; length, 24 inches. — 


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JULES HEREAU 


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69—A SHEPHERDESS 


A peasant girl with her sheep-dog stands, 


half leaning on a stout stick, while her flock of _ 
sheep, behind and beyond her, crop the short, 


mixed verdure of a wide meadow which extends 
far away to a low distance, suggesting a fertile 
country with frequent farm-houses. A flock of 
birds soar up against the sky. 7 


Signed at the right, Jutes H¥reav, ’67. 
Height, 22 inches; width, 16 inches. 


INSCRIBED ON THE BACK: “ PEINT Pour M. Wo.LFFr PAR JULES — 


HEREAU, 9 RUE Durerré, Paris, 1867.” 


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J.G. MEYER VON B EMEN 
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r0-—-MEDITATI sl 


A German country maiden, dressed ina red- 
striped petticoat, pale blue apron, brown gray 
jacket, and dull yellow kerchief on head, is sit- 
ting on a boulder by the seashore. She rests her 
forehead on her left hand and in her right she ~ 
holds a pink rose. The episode of an absent lover — 
is still further suggested by a view of the sea on 
the right of the picture. 


al 


Signed at the left, Meyer von Bremen, Bertin, 1880. 
Height, 22 inches; width, 16 inches. © 


a pt " a | 
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71—THE FOREST PATH 


Sb ra. . "0: ORO al | a 


A woodland path, overshadowed by 
leading to a village, the red roofs of whichis are 
seen in the distance, where the gnarled trunks of 
trees frame in a spot of light. Against the sky 
are seen the slender bole of a birch and the 
branches of other trees and the flicker of leaves. 
A peasant woman and her child are strolling 
along the path toward the village. 


Signed at the left, Corot. 
Height, 21 inches; width, 16% inches. 


a 


EMILE JACQUE 


= 


fF EL AE TERRE SEO WE” CASEI ah UNS SARS RS Seg CER pee aida 


oes Pe 


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CHARLES 


ow Seow 


72—LANDSCAPE D SHEEP 


In a pleasant grassy meadow, with scan 
rounded trees, a shepherdess stands in the shade ¥ 
surrounded by a large flock of sheep and lambs" 3 
quietly f eeding as they range over their asia 
The flock is partly in sunlight and Pate 
shadow. 


Signed at the left, Cu. Jacque. pias 
Height, 20 inches; length, 95 tabhde ae se ; 


meee 


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_JEAN FR NOI, ML 


73—LA NAISSANCE DU VEAU 


Two peasants, bent under their burden, are 
carrying on an improvised stretcher a newly born 
calf to place it in the shelter of the warm stable. 
The mother cow, solicitously caressing her off- 
spring, follows close at hand, accompanied by the 
milkmaid. In the background on the left is a 
dense hedge of trees, with the opening of a gate- 
way, and on the right is the facade of the simple 
farm-house and stable in one, with a row of 
gnarled tree-trunks. 


Signed at the right, J. F. Mrtzet. 
Height, 19 inches; length, 23% inches. 


CoLLECTION SavucrpE, Paris. 

Ercuep py Maxime LALANNE, Paris. 

Cottection Duz, Paris. 

MemoriaL Exureition oF Mituet’s Works, Paris, 1887. 

Loan Exursition oF Masterpieces By CONTEMPORARIES OF 
BarYE, HELD IN THE AMERICAN ArT GALLERIES, New York, 1889. 


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| oe NARCISSE Ie tag wen 


V74A—CUPID’S FESTIVAL 


A composition gay with figures of maidens, 
children, and cupids, rich with warm flesh, beau- 
tiful draperies, deep-toned foliage, and glow- 
ing sky. In a glade near a pool, four maidens, 
with attendant cupids whispering of love, are 
enjoying a bath of sunlight and soft summer air, 


their loosely held garments only half covermg __ 


their figures. Each turns a willing ear to the per- 
suasion of the love gods and smilingly joins in 
the festival. 


! 
Signed at the left, N. Diaz, 70, and Vente Draz. 
Height, 22% inches; length, 29 inches. 


LE BOULEAU 
BY 
J. B. C. COROT 


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Pees ora prays Cl ‘ORO 4 
: 75—LE BOULEAU 4.8 Q ae % 


A simple motive, dignified by the choice of 
effect and arrangement of masses. A pond, 
overshadowed on the right by a group of trees 
and bordered by rankly rich meadows, reflects in i 
its narrow extent the light of the sky and a hint 
of the colored roofs of farm-houses beyond the 
water. Breaking the line of hills on the left are 
pollarded willows growing near a large boulder, 
and a graceful birch tree lifts on the right its 
feathery crown against the clouds. The sunlight 
touches crisply the silvery bark of the birch, il- 
luminates the bright-colored garments of a peas- 
ant woman kneeling by the pond, and flickers on 
the wild flowers which are scattered over the 
broken ground. 


Signed at the left, Coror. 
Height, 20% inches; length, 31 inches. 


CoLLEcTION OF Mr. GAMBART, LONDON, FOR WHOM IT WAS PAINTED. 


E 

f 

Pe |e 
\ 

i 


An old Highlander, sunning himself against 
the whitewashed wall of his thatched cottage, is 
intent on knitting a stocking. He wears a Scotch 
bonnet, a blue waistcoat, and leather-colored coat 
and trousers, Beyond the sunlit corner of the 
cottage is seen the distant moorland, with sheep 
feeding on the hills, whose summits are lost in the 
driving mist. A bunch of onions and a few herbs 
hang against the wall on the right. The figure 
is shown to the knees only. 


Signed at the right, INicor, A.R.A., 1873, 
Height, 24 inches; width, 18 inches. 


a id 


Rae oe 
ee Foo 


x GERM AIN PELOUSE , 


isi in full ited and reflects itself with the trees 
and t the houses in the perfectly smooth water of 
the river. The sedgy bank, with scattered 
bunches of rushes, softens the lines of the reflec- 
‘ion, and on the left a plume of white smoke is | 


seen half against the foliage and half against the 
_ sky. 


Do lg el ay EN REO ae = 
. a | ft # 
™ - ° — we 


oa eS "Signed at the left, G. Pe.ouse. 
; Height, 191% inches; length, 241% inches. 


__ Parwvep ror Mr. Lyatt. 


. JOSE FRAPPA 


73—IN THE ART GALLERY 


A Capuchin and a Dominican monk who have 
been wandering about a picture gallery, pause 
before a picture which shows a monk talking with 
a young lady who holds a red parasol over her 
head. They are laughing heartily at this pic- 
ture, forgetting entirely the religious subject 
which occupies the wall behind them. The Ca- 
puchin holds in his right hand a huge red um- 
brella with a striped green border. | 


Signed at the right, J. Frappa. 
Height, 23% inches; width, 19% inches. 


Tuomas Reto CoLuEcrIon. 


RUDOLF ERNS 


79—DESPATCH BEARER 


Seated on a long, sumptuously upholstered 
divan, half in sunlight against a richly orna- 
mented wall, a Moorish personage of rank is 
reading a manuscript which has just been handed 
him by a soldier armed with helmet, shield, and 
sword, whose bronze-colored skin is only half 
covered by a silk drapery. A deep-toned rug lies 
slantwise on the polished floor, and on the left 
are a tall bronze vase and a low brass mangal 
or brazier. 


Signed at the right, R. Ernst, 1885. 
Height, 24 inches; width, 19% inches. 


brs GEORGE MICH ie | 


80—LANDSCAPE AND SHEEP 


Near a farm-house, which stands on a slight 
eminence and is half hidden by trees, a shep- 
herd and shepherdess watch their straggling 
flock. A white horse with rider is seen on a dis- 
tant path or track, and irregular masses of trees 
come out strongly against a gray sky with a 
threatening rain cloud. 


Height, 23 inches; length, 28 inches. 


+ 3 ’ ie : 


LUB ‘LA Ww : ‘ a 


ea 


‘, 


» 


81—CLUB LAW > 


heath, prandiches his blackthorn stick, thar ca 
tional weapon and constant companion of Pad : 
at home. A wild heath with a misty sky mak 
a background for the figure quite in harmot 
with the spirit of the subject. The figure is seen 
above the knees only. | ths Me 


Signed at the right, eee A.R.A., 1866. 


by Sam, 
See 


yKb 
¥ 
© 


EMILE VAN MARCKE 
6 70d. 3 Sine toe 


82—LANDSCAPE AND CATTLE E 


A group composed of a white-faced red cow 
accompanied by her calf, and solemnly followed 
by a black cow, occupies the near foreground, 
contrasting in strong light and shade with the 
distant pastoral landscape, where are seen a la- 
boring peasant woman and cattle in the distance, 
all in the broad light of midsummer. Sandy 
paths break the green carpet of the meadow, and 
tiny spots of blue in the veil of clouds suggest 
a perfect summer day. 


Signed at the left, Fm. Van Marcxe. 
Height, 22 inches; length, 31% inches. 


<< 


F. AUGUS 
oe Cian ot 
83—SUMMER TIM 


a 


On a still summer day a group of cows is 
standing in a shallow river which sluggishly flows 
through the meadows where great clumps of 
oaks cast deep shadows on the grass. Along the 
river bank are tall, slender trees, sparse of fo- 
lage, and pollarded willows. 


Signed at the right, Aucuste BonHEUR. 


Height, 23 inches; length, 31 inches. 


ty 


* 


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“i ae This j is See bably a study of an accidental pose 
Bat of a favorite model caught in the intervals of sit- 
- ting. Perched on a table which is draped with a 
srry-colored velvet cloth, a young girl, in thin 
i Re ite Empire dress, with pale purple embroid- 
+ nl nae ed petticoat and dainty pointed slippers with 

: ep : jeweled rosettes, is playing a mandolin. A gray 
ie skin 3 rug in the foreground half hides the orna- 
eb nental base of the table, and in the background 
a are palms, a tapestry, and a vista into another 


a1 OF Fai sit ae 


oS he apaele ; 


. x 


Ne “1 Signed at the right, V. PaLMaRo.t. 
vse, 
‘ Height, 284% inches; width, 24 inches. 


- 


rae a ' ¢ 


From rue Coxtection or H. L. Dousman, or St. Louts. 


267 ARL BECKE 
th have 
85—OLD A 


Two gay Venetian cavaliers, arm in arm, gos- 
sip, as they cross a narrow bridge over a canal, 
about the charms of a Juliet who is seen in the 


window at the balcony of a house they have just — 


passed. Both the beaux are dressed in silk and 
velvet, and one wears shades of red, the other of 
blue and orange. The background is a narrow 


street, mostly in shadow, and the facades of 


houses along the canal. 


Signed at the left, C. Becker. 
Height, 29% inches; width, 23 inches. 


aunts 9 


“Sega 


som b BROKEN Pr TCHER 


LEON J. F ONNAT 
Rear © The dln 


86-—THE BROKEN PITCHER er 


An Italian child in white chemise and head- 
dress, and a light blue petticoat relieved by a red 
overskirt tucked up from under a variegated 
apron, is standing under a strong light from the 
zenith, which throws the figure into vigorous and 
solid relief against a deep-toned background, 
which suggests in its indefiniteness a wood over- 
hanging a spring. <A bit of blue sky shows near 
the upper left-hand corner of the picture, and be- 
hind the girl the fragments of a brown earthen 
pitcher are lying on the warm-colored sand. 


Signed at the right, LN. Bonnat. 
Height, 28% inches; width, 18% inches. 


| 


ee Lae ae tac 


ae 


i 
if 


SS a Ie 


ee 


JULES BASTIEN-LEPAGE 
SA at fags 5 eee ft 


87—RIRE D AVRIL 


A typical French village, with its bald fa- 


eades, blank walls, and red-tiled roofs, is seen 
against a placid, almost cloudless spring sky. 
Cutting the broken line of roof on the left, a 
slender fruit tree rises with a network of delicate 
branches and a profusion of pink blossoms. The 
whole foreground, an area of cultivated land, 
broken here and there by spots of verdure and cut 
by a narrow stream running between grassy 
banks, is in shadow full of reflected light. The 
figures of two girls washing clothes in the stream 
give life to the scene and add to the impression of 
primitive simplicity of intention which is the 
keynote of the picture. The flash of sunlight on 
the distant houses and on the spring blossoms 
warrants the sentiment which the title suggests. 


Signed at the right, J. Bastren-Lepace, DAmvitirrs, 1883. 


Height, 26 inches; length, 31% inches. 


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88—ENVIRONS OF ORNANS 4, % yf, 


A gorge in a limestone country, where a __ 


winding stream runs below cliffs and between the 
steep escarpments of grass-grown slopes. Sturdy 


trees have seized a foothold among the masses of _ 
rock and thick woods crown the distant hilltops. — 


Gray ledges of rock crop out among the verdure 
in the distance and sharply accent the fore- 
ground. A narrow strip of sky with white 
clouds is seen beyond the hills. 


Signed at the right, G. CourBeEt. 
Height, 284% inches; length, 354% inches. 


CottEcTION oF M. BERNHEIM, PARIS, WHO PURCHASED IT FROM 
THE SISTER OF COURBET. 


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89—A STROLLING MERCHANT 


< 


* 


In one of the narrow, dusky streets of the __ 


native quarter of Cairo, a turbaned vender of 


rich second-hand garments and choice weapons is 
crying his wares. In his right hand he carriesa oy 
Persian helmet with intricate chasing, and in his 


JEAN LEO EROM a 


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if, 


left, resting against a mass of soft silk draperies, 


he holds a long gun, inlaid with mother-of-pearl. 


Near by are scavenging dogs, and in the gloom 
behind and to the left are seen the figures of bar- 
gaining natives. To the right is a long vista 
through a crowded street with a sea of white tur- 


bans and, above, the high facades of native houses i ‘ 


and the minaret of a mosque against a bit of blue 
sky. 


Signed at the left, J. L. Gérdme. 
Height, 301% inches; width, 21 inches. 


ex eye = Meena ate 2 aia ane Ye ee MR eae 
’ . i Pe aad the ‘ do) dha FY"! mm ae ingens 
bi Th Meine es ; acy 


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90—THE CARDINAL'S BLES h G 


This picture illustrates an incident in a a ‘ A 
crowded street in the old and populous part of 
Rome, where a procession of monks, headed by 
a cardinal and bearing a banner, halts for a mo-~ 3) 44 
ment under an archway while his eminence, in ; 

. full robes, lays his hands in blessing on the head _ 
of a kneeling man. On either side of the street 
are groups of people huddled against the wall to _ 
give room for the procession, some of them kneel- 
ing, all of them devoutly interested. Under the 
arch and above the roof of it is seen the intense 
blue Italian sky. 


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Signed at the left, E. Isapey. 
Height, 31% inches; width, 25% inches. 


Bere 


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5 ON T, TROYOD 
91_-CATTLE LD Hog ie 


This is essentially a cattle piece, for the ani- 
mals, a red and a white cow, form the one impor- — 
tant feature of the composition. They stand, in 
the strong light of mid-afternoon, head to head, 
caressing one another after the manner of their 
kind. Close behind them is a mass of wild flow- 
ers, indicating the uncultivated border of a 
wheat field, and beyond is a narrow strip of low 
country in the distance. The sky which occupies 
two-thirds of the picture is of a clear deep blue 
with a few drifting clouds near the zenith. 


Signed at the left, C. Trovon, 1856. 
Height, 28% inches; length, 36 inches. 


A. T. Stewart Co.iection, 1887. 


C. F. DAUBIGNY | 
Pate iG ya 
92—-EARLY SPRING 


On the right a grassy eminence, surmounted 
by a clump of trees, slopes to a river which leads 
into the picture from the left and disappears, 
winding away beyond a tree-crowned point. The 
sky is covered with a lofty stratum of vapor, 
showing here and there a note of blue and ac- 
cented by the forms of cumulus clouds drifting 
below it. The moisture-laden atmosphere softens 
the sunlight, which throws cool shadows on the 
grass and intensifies the contrast between trees 
and sky. 


Signed at the right, DavuBicny. 


Height, 23% inches; length, 39 inches. 


| nae 


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93—SOUVENIR OF ALGERIA 


EUGENE FROM 


North Africa is full of surprises in architect- 


ure, and the subject of this picture shows to what 
an extent the artist was impressed by the juxta- 
position of modern and ancient structures. A 
many-arched and half-ruined aqueduct, leading 
to an acropolis of moderate height crowned with 
simple massive buildings whose rigid lines are 
agreeably broken by a tower or two, occupies the — 
middle distance, leaving a glimpse of distant hills 
beyond on the left. The southern sunlight forces 
into strong contrast the masses of architecture 
and brings out the rich and kaleidoscopic-colored 
garments of a group of Arab horsemen cara- 
coling over the rough ground as they approach 
the citadel. The deep blue sky is broken by a few 
gray clouds, and patches of green turf and the 
familiar aloe enrich the rough ground surround- 

ing the buildings. | 


Signed at the left, Kuc. FRomentTIN. 


Height, 19% inches; length, 36% inches. 


Co.ttection oF M. Beventet, Paris. 


UISOT EP PLOT MY 
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E PROTAIS — 


94—PRISH DUNE BATTERIE 


This is a battle scene, presumably an episode — ar 
of the Crimean War, with a multitude of ‘small ie 
figures. The first line of a strong force of Zou-— 4 
aves has just charged a field battery, and a cap: s a 
tured gun, surrounded by the enemy’s slain and 
the scattered dead and wounded of the victors, RA 
shows that the fight for the piece has been a stub- 
born one. To the right, and sweeping away in 
a curve to the smoky distance, a second line of 
men is rushing on to the support of the advance, _ 
which is still engaged with the enemy. Through _ 
the thin veil of drifting smoke are dimly seen dis- 
tant fields and troops in regular formation. _ 


Signed at the left, P. Atex. Protais. 
Height, 25% inches; length, 39% pal 45 


PartntTep For Mr. LYAtu. 


” 


JULES ADO PU ——— 
BS BLE. 
95—LA FIN DU TRAV AIL 


The season of late summer, when the earth is — 
carpeted with lush vegetation and when, at sun-— 
set, a delicate warm glow bathes the whole land- 
scape, has often impressed this artist, who with — 
brush, and also with pen in verse, has rendered 
the charm of the hour and the idyllic side of peas- 
ant life. The incidents in this picture are in their 
favorite setting. On a wide area of cultivated 
fields, over which steals the first twilight shadow, | 
a number of peasant women are finishing their 
day’s task. A warm glow of reflected light from 
the sun below the horizon embraces the whole 
landscape, softens the sharp crescent of the new 
moon, and the brilliancy of the light of the even- 
ing star. Near the middle of the picture, toward 
the left, and seen partly against the sky and 
partly against the wide extent of the field, two 
women are filling a sack with green fodder and, 
beside them, a little girl with jug and sickle is 
signalling to a distant comrade who, following 
her mates, is about to turn homeward where the 
distant village spire is seen among the trees. 


Signed at the right, Jotes Breton, 1887. 
Height, 29 inches; length, 47 inches. 


\ 


EBECCA 


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ati a i a SN a Rn - - 


ene EERE EE EEE Ee een non: 
7 a _ a - ————— 


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PO a gg Sr ree Ne ee ory 


_EUGENE DELACROE 


96-—L’7ENLEVEMENT DE REBECCA 


The motive of this picture is found in Sir 
Walter Scott’s novel of “Ivanhoe,” and the inci- 
dent illustrated is the abduction of the Jewish : 
maiden Rebecca by the followers of the Templar 
Brian de Bois Guilbert. A Moorish horseman on 
a mottled gray Arab charger lifts from the arms 
of a foot-soldier the inert form of the Jewish 


AB maiden to place her behind him on his saddle. __ 
; The group, which is full of movement and of — 
h Ae \ : strong contrasts of light and of color, is sup- | 
¢ ported by the figure of a galloping cavalier to the 
| o | right and below, while in the background are'the _ 
| 40 AG vi towers of Front de Boeuf’s castle all ablaze, send- 
ip 20" a ing out great clouds of tawny smoke which half 
9 iw. cover the expanse of blue sky. In the fore- 
me Jf ground are a drum, a spear, shield, and a quiver 
aA of arrows. 


Signed at the right, Evuc. Detacrorx. 
Height, 39% inches; width, 32 inches. 


| “JT,Enlévement” was first exhibited in the Salon of 1846. 
I On May 29, 1852, it appeared in the Callot sale; on February 9, 
| ' 1856, in the sale of M. T , of Brussels; on March 7, 1870, in 
hens. the Edwards sale, and in May, 1883, in the Sabatier sale. On 
Hi May 17, 1888, it was purchased at the sale of the late S. Gold- 

é schmidt by M. Knoedler & Co., of New York, for the collection of 
D. C. Lyall, Esq., of Brooklyn. This picture was exhibited in 
1889-90 in the Barye Exhibition, New York. 


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/ 97—THE DESTRUCTION OF THE 4 
TELEGRAPH LINE: 4 a 


An Episode in the Franco-German War 


This picture was the last important work un-— 
dertaken by the artist before his premature death. 
In an interesting letter, a translation of which is 
given below, he gives a picturesque account of 
the incident he illustrated and of the circum- 
stances attending the painting of the picture. 


Signed at the left, A. p—E NEUVILLE, 1884. 
Height, 47 inches; width, 32% inches. 


My Dear Friend: My picture represents an episode in the 
Franco-German War—the destruction, by Prussian dragoons, of 
the telegraph of Etretat in Normandy. 

The incident is described in a very vivid way by Ludovie 
Halévy in his book, “L’Invasion.” I have not changed his de- 
scription and have added simply the character of the curé who 
advises the old mayor to accept the inevitable with resignation. 

The landscape resembles Etretat only very vaguely. Like all 
Norman villages on the coast, it is composed of dilapidated old 
houses nestling at the foot of great chalk cliffs. In order to 
depict Etretat exactly it would have been necessary to bring in 
the casino—and that would have detracted from the picturesque- 
ness of the picture—so I have omitted it. I have also changed 
the uniforms of the Prussian dragoons; they belonged actually to 
the guards, who have scarlet collars. I took, however, another 
regiment, because I thought the yellow looked better. 


You would find all the details in Ludovic Halévy’s description 
long; ‘so i¢ give the incident in the following few lines: The 
| d _ ate have suddenly entered the village; the cry is heard from 
al | sides, “The Prussians! 'The Prussians!” ‘The crowd gathers; 
th > mayor is sent for, a good old fisherman called Father Vatiget 
Z¢i knew him well). He puts his tricolor Sash over his coat and 
comes: to parley with the chief of the Prussian detachment. The 
latter points to his. men who are destroying the telegraph by 
cutting the wires with their sabres and sawing the posts at the 
- bottom, etc., and says: “If you repair what we have cut down, 
ow it to be repaired, we shall burn the village and impose 
> i it a fine of ten thousand francs.” Halévy, who was deat 
cs ss .* and who may be seen in my picture standing behind the curé, 
- cannot refrain from saying: “ Excuse me, Captain, I think you 
have made a mistake; you should say, ‘ We shall impose a fine of 
ten thousand francs on the village and then we shall burn it,’ 
; for if you begin by burning it, I think your fine will be very 
Ee much lessened.” The Prussian officer, a little surprised at first, 
_ finally answers him coldly: “You are quite right; we shall begin 
with the fine and we shall burn the village afterwards.” 

- After having fi lished their work the Prussians left Etretat 
ca ‘to the sound of the trumpet. Some days afterwards the Havre 
_ sharpshooters came and repaired the telegraph line, the armistice 
_ followed, and the village was saved. 

This, my dear friend, is the little anecdote on which my pic- 
ture is founded. I have tried to reproduce as closely as possible 
_ the type of our Norman people. To do this I have made sev- 
eral studies at the sea-coast, and stayed with Duez, whom you 
know. As to the Germans, there is a subaltern officer of the dra- 
goons whose back is towards you in the picture, with high broad 
_ shoulders, who looks like a Pomeranian—the captain with the dark 
vey! beard resembles very much a lieutenant-colonel of dragoons 
whom I knew at Metz, and whose name was Brawns—almost an 


; ie we pat ~ English name. The others are less important. 
PAT ; id 


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ae ; Yours as ever, 
ree ni ot Ae . (Signed) ALPH. DE NEUVILLE. 
| _ Paris, January 23, 1885, _ 


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98S—GARDEUSES DOIES 


HECTOR, HANOTR A Pe : 


Two peasant girls on the banks of a placid 
stream, one sewing and the other knitting, are 
casually tending a flock of geese, which are strag- | 
gling over the meadow across the water and pad- — 
dling in the stream. Beyond i is a gently re 


summer sky, 


Signed at the right, H. Hanoreav. 
Height, 31 inches; length, 39% inches. 


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99—A SORTIE 


From the arched gateway of a strong citadel 
a large band of Moorish horsemen is dashing 
out, as if to surprise a besieging force. On the 
right, and near the foreground, are two tur- 
baned soldiers, armed with long guns and with 


pistols in belt, one on a light chestnut, the other of 
on a black stallion, reining up with difficulty their : 
eager animals, to receive the last word of com- if 


mand from an under officer on a white horse near 
by. The brilliant sunshine touches with spark- 
ling lights the figures of the men, the arms and 
accoutrements, the horses, and the lines of the 
citadel walls, and throws deep, warm shadows on 
the rough ground. To the left, in the distance, 

is a crowd of horsemen in a cloud of dust, and 
overhead a tender blue sky. 


Signed at the right, Av. ScHREYER. 
Height, 324% inches; length, 51% inches. 


a 


ye SOR es ails 
100—CROSSING THE’STREAM 


G7 Ne or 


A barefooted peasant maiden is carrying her 
curly-haired baby brother pick-a-back through the 
forest, and has just crossed a shallow stream 
which trickles over a rocky bed. The child wears 
but a single garment and the maiden is dressed in 
a long-sleeved white chemise, a deep wine-colored 
bodice, and a blue petticoat from which is turned 
back a purple apron. Her sole ornament is a 
string of corals around the neck. To the left and 
behind the figures, which are life-sized, is a vista 
along the woodland path, with here and there a 
flicker of light and a glimpse of the sky beyond; 
to the right, distant sturdy tree-trunks are 
brought into prominence by a passage of light in 
the extreme distance. | 


Signed at the right, W. BovucurrEau, 1869. 
Height, 62 inches; width, 41 inches. 


B. Natuan Coiiection, 1880. 


ee = ~ ~ 


HEBERT 


TOINE A. E. 


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ANTOINE Ao B HEBERT 


101—-LA VOIX CELESTE 


The figure of a maiden, rather more than half 
life-sized, seated on a jutting spur of a ledge of 
rock, is in relief against a sunset sky and a deso- 
late, treeless landscape, through which flows a 
broad, quiet river reflecting the glow of early twi- 
light. She is dressed in a crimson, gold-embroid- 
ered brocade tunic, with a diaphanous blue man- 
tle draped across her knees. Her right hand 
touches the strings of a small harp and her left 
rests lightly on a scroll which bears a Latin text. 
Her eyes are turned heavenward, as if she heard 
a voice in response to the chord she strikes. 


Signed at the left, H&pert, 1882. 
Height, 52% inches; width, 30% inches. 


 Grorce I. Senry Cottection, 1885. 


aren 


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102—MOISSONNEUSE 


A single figure of a peasant woman standing 


in a path through a wheat field, shading her eyes 


with her left hand, while under her right arm she 


holds a sheaf of wheat she has been gleaning. 
She wears a black velvet bodice, a full-sleeved 
chemise, and a red petticoat with gray overskirt 
tucked up under her girdle. The ripened wheat 
against the sky forms a background to the figure, 


giving high relief to the black and white of the — 


upper part of the dress, to the face with its frame — 
of dark hair, and to the flesh of the neck and 
arms. 


Signed at the left, A. Votton. 
Height, 47 inches; width, 29 inches. 


PatntTep For Mr. LYALL. 


eon owe 
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fi ve : mite ns in # the foreground and the busy landing 
ie il place in the middle distance, suggest Capri as 
the motive of this picture. Two women are dress- 
A ing after -bathing in the water which ripples 
| eee against a great fragment of Roman construction 
| | aie which has fallen away from the ruin under the 
a rocky eminence on the right. The white sail of a 
Me. hae, boat, seen against the distant headland 
and the quiet sunset sky, makes the focus of the 
picture. To the left stretches the smooth ex- 
Om panse of the gulf, with here and there a sail. 


+ 


_ Signed at the right, Osw. AcuEnsacn, 1879. 
ie —— i gone _—- Height, 26% inches; length, 39% inches. 


Caton 


_ | OTTO ERDMAN® oe 
Sone CL: F (oe 


104—“ IS IT FOR ME?” 


A pert-looking servant girl with a tray and 
glasses is handing a sealed note to a lady whom 
she has met on the broad staircase of a palace or 
a chateau. ‘The scene suggests the beginning of 
a flirtation by correspondence. The costumes ~~ 
are toward the end of the eighteenth century. 
The lady wears a blue silk gown with a yellow 
gray petticoat, and the maid a cap, a red jacket, 
and a striped overskirt tucked up to show a gray 
petticoat and her feet in high-heeled slippers. 


Signed at the left, O. Erpvmann, Dr., 1873. 
Height, 36 inches; width, 28 inches. 


ts € 


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PIERRE AUG COLE = 
dint a ae 


105—SPRINGTIME 


SoC AN Rabe, 
a, VRE: AMERICAN ART ASSOCIATION, 


me 74% 


“O primavera! gioventt dell’ anno! 


O gioventti! primavera della vita!!!” 


To illustrate an allegory of springtime, but 
with no effort to escape distinct realism, the artist 
has chosen to develop the motive in a new direc- 
tion. A youth and maiden in classical dress, the 
former in a dull red tunic and the latter in white 
diaphanous drapery, are seated in a swing which 
hangs from a tree in the heart of a forest of 
tropical luxuriance of growth. The maiden 
clings trustingly to her lover, with both her arms 
around his neck. Butterflies flutter suggestively 
above them. <A shaft of sunlight accents the 
lines of the figures here and there, sharpens the 
forms of the near foliage, and flickers on the 
rough ground. 


Signed at the right, P. A. Cot, 1873. 
Height, 82 inches; width, 49 inches. 


JoHN Wotre Co.Liection, 1882. 


MANAGERS 
Tuomas E. Kirsy, Auctioneer 


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n | ee in ee He received ia at Paris in 
oe and 1863, and was made Chevalier of the 


ha oN 4 MEDITERRANEAN | 103 


ADAN, LOUIS EMILE 


ont 


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ra Es 


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4, 


oe Born at Paris in 1839. He was a pupil of Picot 
ae 


ta Cabanel, and has loyally carried out the traditions 
* of his masters in his historical and genre pictures. He 
etd. “received medals at the Salon i in 1875 and 1882. 

Bai y's 
Oe THE SLY BUTLER pvt 


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BASTIEN-LEPAGE, JULES 


Born at Damvillers, Meuse, France, in 1848. He — 
studied under Cabanel in Paris, but soon threw off the - 
shackles of the academic style and became an apostle 
of the open-air school, striking out a new path for him- 
self and creating a sensation in art circles with his mar- 
vellously sympathetic and poetical interpretations of 
nature. Some of his most important work, notably the 
** Joan of Arc,” is owned in this country. He received 
medals at the Salon in 1874, 1875 and at the Expo- 
sition in 1878, and was made Chevalier of the Legion of 
Honor in 1879. Died in Paris in 1884. 


RIRE D’AVRIL 87 


BECKER, CARL LUDWIG FRIEDRICH 


Born at Berlin in 1820. He was a student in the 
Berlin Academy and a pupil of Cornelius, Hess and Von 
Klober, and held scholarships of the Berlin Academy at 
Paris and Rome. He was elected vice-president of this 
Academy and member of the Academy of Vienna and of 
the Royal Society of Letters and Fine Arts of Belgium. 
His duties as professor have not prevented him from 
diligently pursuing his art, and he is well known as 
a painter at home and abroad. : 


OLD BEAUX 7 | 86 


ts Sof cain life, in no way distracted or diverted 
ak ‘purpose by the influence of the ephemeral 
cho Is which flourish in “Munich as elsewhere. His 


as a. characterized by great iene eee 


BOLDINI, GIOVANNI 


‘. _ Born at Ferrara, Ualy, i in 1845. He studied his 


1872, ‘nie he went to Paris. In that city he soon made 

a reputation as a painter with brilliant technique, and 

a ee his pictures attracted the notice of Fortuny, who not 

ae a only became his friend, but influenced him very much 

| in his work. However, not even so strong a personality ; 
ie that of Fortuny could affect his style so far as to — . 
Say take away the charm of individuality, and he has always 

_ Tetained his own strong characteristics. 


’ 


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BONHEUR, FRANCOIS AUGUSTE 


Born at Bordeaux in 1824. He was the son of 
an unsuccessful artist, Raymond B. Bonheur, and the 
younger brother of Rosa Bonheur. The glamour of 
the reputation of the sister naturally kept the brother 
somewhat in the background, but his talents were recog- 
nized and esteemed by his contemporaries in the pro- 
fession, and he received medals at Paris in 1852, 1857, 
1859, 1861, and was made Chevalier of the Legion of 
Honor in 1867. His work is strong and faithful, and — 
quite as striking in quality as that of his sister. Died 
in 1884. 3 


SUMMER TIME 83 


BONNAT, LEON JOSEPH FLORENTIN 


Born at Bayonne in 1833. He first studied under 
Madrazo in Madrid, and after some time with this 
Spanish master he went to Paris and became a pupil of 
Léon Cogniet. In the competition for the Prix de 
Rome he took the second prize, which did not entitle 
him to a full scholarship. His friends, however, came 
to his assistance, and he spent four years studying in 
Italy, where he painted a good many Italian subjects, 
chiefly studies of peasant life. He has received many 
honors in his profession, the chief of which are medals 
at the Salon in 1861, 1863 and at the Exposition of 


pi oe Chevalier of the Legion of Honor in 1869, 
Of ficer in 1874, Commander in 1882 and Grand Com- 
man nder i In 1897. Member of the Institute of France. 


piers: 


. THE BROKEN PITCHER | 86 : 
| . ee 


ae a La Rochelle in 1825. He began life as a 
Paes hopkeeper’ s assistant in his native town, and while en- 
ee gaged 1 in this occupation in Bordeaux he attended the 
RS ~ Alaux Art School, and made such progress that he 
i gained the prize, exciting the dismay and the resent- 
_ ment of his fellow-students. He now resolved to be- 
he © come, an artist, threw up his employment and painted 


ne ing ae money to take him to Paris. There he 
; r ei entered the Ecole des Beaux Arts in the studio of Picot 
in 1848, and in 1850 won the Prix de Rome. After his 
four years’ sojourn in Rome he returned to Paris well 


| re equipped to undertake the commissions for both public 
iP _____and private works which were speedily intrusted to him, 
| A and from that time on his career has been one of unin- 
| Babe, E terrupted success. The following are a few of the 
Fanaa honors he has received: Medals at the Salon in 1857 
| and _ the Expositions in 1855 and 1867. He was made 


| Chevalier of the Legion of Honor in 1859, Officer in 
1876, and Commander in 1885. He was elected a Mem- 


ber of the Institute of France in 1876, and received a 
-medal of honor at the Exposition in 1878 and at the 
Salon in 1885. | : 


CROSSING THE STREAM 100 


BRASCASSAT, JACQUES RAYMOND 


Born at Bordeaux in 1805. He first studied land- 
scape art in Paris, but devoted his attention soon to ani- 
mal painting, and is considered the founder of the school 
of which Troyon is the most eminent follower. He was 
a pupil of Richard and of Hersent, and gained the second 
prize for Historic Landscape in 1825. He painted for 
several years in Italy. He received medals at Paris in 
1827, 1831 and 1837; was made a Chevalier of the 
Legion of Honor in 1837 and a Member of the Insti- 
tute of France in 1846. Died in 1867. 


BULL AND DOG : 55 


BRETON, JULES ADOLPHE 


Born at Courriéres, in France, in 1827. He studied 
under Drélling and Devigne, and made his first success 
in Paris as early as 1849. Within a very few years he 
established his reputation as a painter of peasant sub- 


: jects, and when his picture “ Blessing the Harvest ” was 
_ bought by the French Government he took his place at 


once in the front rank of French artists. Many of his 


best pictures are now in the United States, and he is 


represented in most of the notable collections of modern 
art the world over. No artist has been more popular, 
and no one has been given a greater number of medals 
and other distinctions. He received medals at Paris in 
1855, 1857, 1859, 1861, 1867, and the Medal of Honor 
in 1872. He was made Chevalier of the Legion of 
Honor in 1861, Officer in 1867 and Commander in 1889. 
He is a corresponding member of the Academies of 


if Vienna, Stockholm, Madrid and London, and a Member 
_ of the Institute of France. 


LA FIN DU TRAVAIL 95 


CABAT, LOUIS 


Born in Paris in 1812. He was a pupil of Camille 
Flers, and was a successful landscape painter. Without 
being identified with any particular group, he occupied a 
dignified and influential position. He received medals 
at Paris in 1834 and 1867; was made Chevalier of the 
Legion of Honor in 1843. and Officer in 1855. He was 
elected a Member of the Institute of France in 1867, 
and Director of the French Academy at Rome in 1879. 


LANDSCAPE 66 


ne Aa iat) 3 NCS) a ee 
ite PLN Lrg Veen 1 ean ba dns 
ie es bas JOE iS he, 


CAZIN, JEAN CHARLES 


Born at Samer, Picardy. He began his studies as a 
figure painter, became a pupil of Lecoq de Boisbau- 
dran and gained considerable reputation with figure 
subjects, receiving medals in 1876 and 187%. He 


turned his attention, however, to landscape, and his © Se 


triumphs in that branch of art brought him into world- 
wide prominence. He was made Chevalier of the Legion 
of Honor in 1882, and previous to his death was made 
a Commander. Died in 1901. 


MON JARDIN 59 


CHAPLIN, CHARLES JOSHUA 


Born at Les Andelys in 1825. He made his prelimi- 
nary studies at the Ecole des Beaux Arts in Paris, and 
was for some time in the studio of Droélling. Notwith- 
standing his training, he never entered upon the field 
of historical painting, but confined himself to a simple 
line of idealistic subjects, in which he has achieved dis- 
tinction. He received medals at Paris in 1851, 1852 
and 1865; was made Chevalier of the Legion of Honor 
in 1865, and Officer in 1877. Died 1891. 


THE BATHER | 6 


COOPER, THOMAS SIDNEY 


Born at Canterbury, England, in 1803. He was a 
student of the schools of the Royal Academy, London, 
lived for some time in France and Belgium, and was for 
a few months a pupil of Verboeckhoven. He was elected 
an Associate of the Royal Academy in 1845 and a full 
member in 1867, and has received many foreign honors. 
He was a very conscientious and diligent worker, and 
his career was a most remarkable one, for he painted al- 
most up to the day of his death, which occurred in 1902. 


“LANDSCAPE AND CATTLE 3 4 


COROT, JEAN BAPTISTE CAMILLE 


- Born at Paris in 1796. His father, who was a well- 
to-do tradesman, at first apprenticed him to a linen dra- 
per, but finally yielded to his desires to become a painter — 
and sent him to Paris, where he studied under Michallon 
and Bertin. He made several trips to Italy, and painted 
in that country many landscapes, mostly of the aca- 
demic order. It was not until he was past forty years 
of age that he began to develop his art in the direction 
which made him famous. In this change from the 
formal academic style he was much influenced by Rous- 
seau, but became, in his turn, a source of great influ- 
ence on modern landscape art. He received medals at 


ks Pe gy ee Sy ek tisk % 
BC oy ee aa ey 


ie ira AR 


Paris in 1833, 1848, 1855 and 1867; was made Chev- , 
alier of the Legion of Honor in 1846 and Officer in 1867. 
Died in Paris in 1875. . a 


NEAR THE SEA | 7 


THE FOREST PATH | ua ee 


LE BOULEAU flats 


COT, PIERRE AUGUSTE 


Born at Bévarieux, France, in 1837. He began his 
studies in the Academy at Toulouse, and from there 
went to Paris, where he entered the Ecole des Beaux 
Arts, where he took most of the important prizes. He 
was a pupil successively of Cabanel, Cogniet and Bou-| 
guereau. While with Cogniet he assisted him in the 
decoration of the great hall of the Hotel de Ville. His 
ability and his talents as a designer brought him to the 
notice of Bouguereau, and he entered his studio and 
remained there for several years. _ His first works were 
similar in’subject to those of his last master, but after 
the Exposition at Vienna in 1873, where he received a 
‘medal, he chiefly occupied himself with portraiture, al- 
though he worked occasionally on figure subjects, several 
of which were left by him in an unfinished state at the 
time of his death. Died in 1883. 


SPRINGTIME ? 105 


> 


+ ili Born at Ornans in 1819. He was engaged in the 
study. of the law when his disposition toward art began 

manifest itself, and in 1839, at the end of two years, 
went to Paris. ‘There be pentiied in a somewhat ir- 


ape monument. errs art partook, naturally, much of the 
nature of the man, and is essentially bold and personal. 
Died in Switzerland in 1878. 


| —s&EWVIRONS OF ORNANS © 88 


| eee eee COX, DAVID 


ee Born near Birmingham, England, in 1783. He be- 
| _-—_ gan his career as a scene painter in a Birmingham theatre, 
. and went to London in 1803, where he became a teacher 


of drawing and painting, and practised his profession 


oe ee aS 


with great success. His name is identified with a flour- ae: 


ishing school of English landscape painters, of which he 
was one of the leaders. In 1844 he settled at Harborne 
Heath, near Birmingham, where he died in 1859. _ 


CROSSING THE COMMON 5 


DARGELAS, HENRI : 


Born at Bordeaux in 1828. He studied under Picot, 
who at that time was a favorite master, but turned his 
attention to genre rather than to historical subjects, 
and was a frequent exhibitor at the Salon, where he re- 
ceived medals in 1867 and in 1881. 


THE SEWING LESSON 35 


DAUBIGNY, CHARLES FRANCOIS 


Born at Paris in 1817. He came of a family of 
artists, and was reared in the profession. He was first 
a pupil of his father, and then studied under Paul Dela- 
roche with the intention of becoming a figure painter. 
But he soon found that his inclinations were in the direc- 
tion of landscape, and he devoted himself to that branch 
of the art. He began to exhibit in 1838, and in the 
course of ten years gained recognition, and, although 


the youngest of the Barbizon group, he was not the 
least esteemed among them. He painted particularly on 
the Seine, Marne and Oise rivers, making his studies 
from a floating studio. He received medals at Paris in 
1848, 1853, 1857, 1859 and 1867; was made Chevalier 
of the Legion of Honor in 1859 and Officer in 1874. 
Died in 1878. 


BORDS DE RIVIERE — 53 
SUNSET ON THE RIVER 60 
TWILIGHT ; 61 
EARLY SPRING 92 


DE BEAUMONT, CHARLES EDOUARD 


Born at Lannion, France, in 1821. He went to 
Paris as a student, and became the pupil of Boiselier. 
He first called attention to himself as a landscape painter, 
but he became interested in figures and made a consider- 
able reputation as a painter of genre subjects as well as 
an illustrator of books. He exhibited first in the Salon 
in 1838. 


A SUMMER IDYL 10 


+ 


THE PARROT #2 


DELACROIX, FERDINAND VICTOR 
EUGENE 


Born at Charenton in 1799. He made his début as — 
a painter at the early age of twenty-three with his 
“ Dante and Virgil,” when he was still a pupil of Guérin. 
But he did not long follow the banner of the classicists, 
for he broke new ground for himself, travelled in Eng- 
land, Spain and North Africa, and, although always 
in feeble health, produced a marvellous number of pic- 
tures, covering a great range of subjects and notable 
for wonderful richness of color and boldness of execu- 
tion. He received medals at Paris in 1824 and 1848, 
and the Medal of Honor at the Exposition in 1855. 
He was made Chevalier of the Legion of Honor in 1831, 
Officer in 1846 and Commander in 1855. He was a 
Member of the Institute of France. Died in 1863. 


L°’ENLEVEMENT DE REBECCA 96 


~ 


DE NEUVILLE, ALPHONSE MARIE 


Born at Saint Omer, France, in 1836. His parents, 
who were rich and influential, intended him for an official 
career, but from the first his tastes inclined to the army, 
and finally he was sent to the military school at Lorient. 
During his brief stay there and also in the law school 
in Paris, where he attended to please his parents, he 


spent ‘most tof isl time sketching, and finally determined 
to o become a painter, notwithstanding the remonstrances 
f his family and friends. He studied with Delacroix 
dia: Picot, more as a friend than as a student, but his 
first pictures were not successful. The Franco-Prussian 
x wr gave him, however, the necessary stimulus and op- 
tunity, and his pictures of that epoch are among the 
aie “most remarkable war pictures ever painted. He received 
eee So pal at Paris in 1859 and 1861; was made Chevalier 

} Ae ‘the Legion of Honor in 1873 and Officer in 1881. 
‘Died i in 1885. 


ee 
THE DESTRUCTION OF THE TELEGRAPH 
LINE: An Episode in the Franco-German War 97 


- DIAZ DE LA PENA, NARCISSE VIRGILE 


; | x ; a 

| | | Saeed Born at Bordeaux in 1807. His parents were refu- 
| ea gees from Spain, and, his father having died, his mother 
ss brought him to Paris. He had lost a leg through the 


bite of a poisonous insect, but succeeded in getting em- 
ployment in the porcelain manufactory at Sévres, where 
he worked for a while, and then set about painting little 
pictures of nymphs and cupids by himself. The fame 
of the Barbizon school attracted him to the forest of 
Fontainebleau, and under the influence of the painters 
there, chiefly of Rousseau, he developed his art and gained 
success as a landscape painter. He received medals at 


I if ‘ 


Paris in 1844, 1846 and 1848, and was made Chevalier ae 
of the Legion of Honor in 1851. Died in 1876. 


FOREST OF FONTAINEBLEAU 42 


CUPID'S FESTIVAL it ane ae 


DUPRE, JULES 


Born at Nantes in 1812. As a lad he worked at 
painting porcelain in the Sévres manufactory, but in his 
leisure he studied from nature, and in the course of time 
began to paint landscapes. He visited England, and was 
very much impressed by the work of Constable. On 
his return he exhibited two pictures in the Salon of | 
1833, and was at once acknowledged a master. With 
Rousseau, who was his lifelong friend, he became a leader 
of the Barbizon group, and held a distinguished position 
among his contemporaries as one of the founders of this 
school. He received medals at Paris in 1833 and 1867; 
was made Chevalier of the Legion of Honor in 1849 
and Officer in 1870. Died in 1889. 


THE COMING STORM 39 
SUNSET AA 
A BRITTANY FARM 4b 


LANDSCAPE—AUTUMN 54 


@ os = 2 ‘ 


104 


A 


ERNST, RUDOLF © | ae 


ne 


ollowing closely the school of Géréme, this artist : wens 
ds his subjects in the Orient, and paints with great _ Say iit 

; ‘Y the details of Oriental architecture, the textures 
rf "the rich ee and the types of the interesting 


sat 


; D DESPATCH BEARER | 79 


FABRON, LOUIS 


is “This foilower of the Spanish-Italian school of water- 
“ts ao color oo ae up ane tradition of the school in his 


¥ SS fae hc 
cae a) pak: bx 
j aA Tee ni Real» 
ie. + ee Bint = 
“te , 


of which are Orientals whose dress gives an opportunity at = | 
for the skilful imitation of textures and for the ibe * 3 
ment of rich colors. 3 


A TURKISH SOLDIER | : 32 Beer 


FOSTER, BIRKET 


Born at North Shields, England, in 1825. He was | 
a pupil of E. Landells, a well-known engraver of the __ 
time, and worked as an illustrator until 1859, when he 
began to exhibit as a water-color painter. His choice 
of subjects and the skill with which he handled his ma- 
terial soon made him popular, and established his repu- _ 
tation as one of the leaders of the English school of 
water-color painters. He was elected Associate of the 
~ Royal Water Color Society in 1860, and a year later 


was made full member. Died in 1901. , 
A SEASHORE SCENE 6 
MENDING BABY’S CARRIAGE 7 


FRANCAIS, FRANCOIS LOUIS 


Born at Plombiéres, Vosges, France, in 1814. He 
studied his profession in Paris under Gignoux and later 


- be ancghaiy and. noble work. He received 
t Paris in 1841, 1848, 1855 and 1867, and a 
oO honor at the Exposition in 1878. He was 


As a youth 
q Beis in a "in i sciors HoMeatig patterns for 
silks. By the time he was twenty years of age he had 
saved some money and, ambitious to become an artist, 
he went to Paris, studied under Pils and, later, under 
‘Compte and Vibert. He has apparently been more 
strongly influenced by the latter artist than by his other 
: masters, and has gained a wide reputation as a painter 
of genre subjects. 


it et) «yy 


IN THE ART GALLERY 78 


FROMENTIN, EUGENE 


Born at La Rochelle in 1820. He was the son of 
a successful lawyer and intended to follow his father’s 
profession. But after receiving his diploma in Paris, 
at the age of twenty-three, he was taken ill, and as a 
pastime took up the study of drawing. He soon dis- 
covered that his tastes were stronger in the direction of 
art than toward the practice of law, and he became a 
pupil of Cabat and Rémond. He had visited Algeria 
as a youth, and, attracted by Marilhat’s paintings of the 
Orient, now made up his mind to return to that country. © 
He accordingly spent three years there—1846 and 1848 
and 1852. In 1847 he first exhibited at the Salon, and 
in a few years was recognized as the most sympathetic 
and poetical painter of Oriental subjects, and became, 
indeed, the leader of a school. Meanwhile he established 
his reputation as a brilliant and facile writer, not only 
as a critic of art, but as a novelist. He received medals 
at the Paris Salon in 1849, 1857 and 1859, and at the 
Exposition in 1867. He was made Chevalier of the 
Legion of Honor in 1859 and Officer in 1869. Died 
in 1876. | 


SOUVENIR OF ALGERIA 93 


GEROME, JEAN LEON 


Born at Vesoul, France, in 1824. He went to Paris 
in 1841, and entered the Ecole des Beaux Arts, becom- 


upil of Baal! Delaroche, whom he accompanied 
three years later. On his return he studied with 
nd i in 1847 exhibited at the Salon a picture, 
‘ighting,” which won him a medal. During the 


een or twenty years he travelled in various coun- 
nd painted a wide range of subjects, from the 
il to the classical, exhibiting in all of them the 
eproachable accuracy of execution and profound 
tion. A little later he turned his attention to 


apn. he has produced several statues. of great 


m a place in modern art in which he has no rival. 
has received most of the honors that an artist can 


Paris. Salon in 1847 and 1848 and at the Exposition in 
55; Member of the Institute of France in 1865; Medal 
ooo ‘Honor at the Exposition in 1867, at the Salon in 

ies 1874; Medal for Sculpture and Medal of Honor at the 
ie Exposition in 1878. He was made Chevalier of the 


_ -mander i in 1878. 


a STROLLING MERCHANT 89 


“HANOTEAU, HECTOR 


" Born at Decize, Niévre, France, in 1823. He went 
early to Paris and studied there under Gigoux. He has 
had a successful career, and has made himself known for 


Legion of Honor in 1855, Officer in 1867 and Com-_ 


his agreeable rendering of Nature in her pleasant moods. — 


He received medals at the Paris Salon in 1864, 1868 — 


and 1869, and was made Chevalier of the hein of 
Honor in 1870. 


GARDEUSES D’OIES 98 


rs 


HEBERT, ANTOINE AUGUSTE ERNEST 


Born at Grenoble in 1817. He was intended by his 
family for the profession of law, studied in the Lycée 
at Grenoble, and afterwards in the Ecole de Droit at 
Paris. During his studentship he frequently worked at — 
sculpture in the studio of David d’Angers, and also be- 
came a friend of Paul Delaroche, through whose influ- 
ence he determined to become a painter. He sent a 
picture to the Salon of 1839, which was bought by the 
Government. He thereupon entered the Ecole des Beaux 
Arts, and in due time gained the Prix de Rome and was 
fairly launched on a successful career. He received a 
medal at the Paris Salon in 1851, and at the Expositions 
in 1855 and 1867. He was made Chevalier of the 
Legion of Honor in 1853, Officer in 1867 and Com- 
mander in 1874, Director of the Academy of France at 
Rome in 1866 and Member of the Institute of France 
in 1874. Medal of Honor in 1895. 


LA VOLX CELESTE 101 


and became a naturalized ‘French citizen. He is 


jut his pictures, with their piquancy, their freshness 
‘their originality of impression, scarcely show this. 
yt ure essentially modern and essentially French. He 
ived medals at the Paris Salon in 1857, 1859 and 
1861; was made Chevalier of the Legion of Honor in 
--1861 and Officer in 1881. Died at Paris in 1889. 


See 


a Dia THE GARDEN 29 


ee by, — 
2 2 
Sa i 
fd . ‘ 
io, ; : 
* 1% 
b 
S > 


-HENNER, JEAN JACQUES 


Born at Bernwiller, Alsace, in 1829. His father was 
ar peasant and without means, but the municipality, after 
the young student had shown promising talent in the 
studio of Gabriel Guérin at Strasbourg, sent him to 
Paris, where he entered the Ecole des Beaux Arts and 
_ gained the Prix de Rome in 1858, while a pupil of 
_ Drélling and of Picot. He spent five years in Italy, 
and afterwards travelled in various countries in Eu- 
‘rope. Attention was first called to the great qualities 
of his work during his scholarship in Rome, and his 
_ Susannah,” exhibited in 1865, established his repu- 
tation once for all. He has been a consistent idealist all 
his life, and his work combines the great charm of purity 


at Hamburg in 1826. He studied long in 


have been influenced by Alfred Stevens in his — 


with a virile strength of effect. He received medals at __ 


the Paris Salon in 1863, 1865 and 1866, and at the Ex- : 
position in 1878. He was made Chevalier of the Legion aM 


of Honor in 1873 and Officer in 1878. Medal at the 
Exposition in 1878; Member of the Institute in 1889. 


PENITENT MAGDALEN 51 


HEREAU, JULES 


# 

Born at Paris in 1830. He was one of a large coterie 
who threw themselves heart and soul into the art move- 
ment of the time, and he became a pupil of Troyon and 
a devoted follower of the school. His landscapes, usu- 
ally with sheep or cattle as a prominent feature, are 
solid, strong in effect and vigorously executed. He re- 
ceived medals at the Paris Salon in 1865 and 1868. 
Died in 1879. 


SHEPHERDESS 69 


ISABEY, EUGENE LOUIS GABRIEL 


Born at Paris in 1804. He was the son of a well- 
known miniature painter, Jean Baptiste Isabey, and 
was the pupil of his father. He began his career as a 
genre painter, but shortly began to paint marines, and, 


eee 


8 ee 


nes now “chiefly known. He was at one time very suc- 
ia a s a water-color painter and also as a lithog- 
Tap ner. He received medals at the Paris Salon in 1824 


1827, and at the Exposition in 1855; was made 
lier of the Legion of Honor in 1832 and Officer 


‘ in 1852. Died in 1886. 


THE CARDINAL'S BLESSING 90 


JACQUE, CHARLES EMILE 


Born at Paris in 1813. In early life he was ap- 


i -prenticed to a map engraver, and during his enforced 
term of service in the army he practised wood engrav- 


ing and etching, and after leaving the army devoted 


himself to these branches of the profession. It was 
i these mediums that he first gained pubic at- 


_ tention, but it was not until 1861, after he had been 


: _ painting sixt.en years, that he was accepted as a painter. 
_ He had a great fondness for animals, particularly for 


_ sheep and pigs, and not only bred poultry, but wrote 
a book on the subject. He was the last survivor of the 


Barbizon group, and, unlike most of his friends, aided 


his life in comparative affluence. He received medals at ¥ 
the Paris Salon in 1861, 1863 and 1864, and at the © i 
Expositions in 1867 and 1889, and was made Chevalier — ae = 


of the Legion of Honor in 1867. Died in 1894. 


~ 


SHEEP | hte ae 


LANDSCAPE AND SHEEP eM 


JOHNSON, DAVID 


Born at New York in 1827. He showed early in 
life a distinct aptitude and a taste for art, and received — 
at one time a few lessons from J. F. Cropsey, N.A. He 
has never been abroad, and although he has admired and 
studied the works of European masters of landscape, he 
has worked in his own way, which has proved a very suc- 
cessful and individual one. He was made a National 
Academician in 1862, received a medal at the Centennial 
Exhibition in 1876 and was one of the founders of the — 
Artists’ Fund Society. : 


ON THE ESOPUS CREEK py ae 


STUDY FROM NATURE, RAMAPO 50 


LANDSCAPE 57 . 


| 
| 
¥ 
y } 
: 
| 
| 
a 
- . 


ee a 


) 1 at Versailles, France, in 1815. He was ae a 


re 
) 
Te 
es 
= 
o 
a] 
a) 
& 
= 
5 
jon 
mM 
a 
cS 
% 
cr 
7 
oO 
5 
=. 
= 
a) 
ear) 
ie) 
i] 
=F 
mM 


r] Ses in Berit Africa, in the Orient and in 
land. pie finally devoted himself almost exclusively 


33 


LEADER, BENJAMIN WILLIAM 


| Born at Worcester, England, in 1831. He showed 
early in life a decided talent for painting and, after 


some preliminary studies, went to London and entered — 
the schools of the Royal Academy. Figure painting RAS. 
and sculpture alone are taught in this school, but he was ‘a 


ts) 
wee 


» 


not diverted from his purpose to become a landscape — a 


painter, and in a short time began to exhibit. His ex- | 
ceptional skill and his choice of subjects soon made him 
popular, and he has long been a most successful painter oe z 
of domestic landscapes. He was elected an Associate iy eo 


of the Royal Academy in 1883 and a Member in 1896. 


STORMY WEATHER: CAPEL CURIG, NORTH 
WALES Lp ‘56 


LELOIR, MAURICE 


Born at Paris in 1853. He belongs to a famous — 


family of artists, and was a pupil of his father, J. B. 


Auguste Leloir, and of his elder brother Louis. He, | 


naturally enough, has been much influenced by his mas- 
ters and by his surroundings, and continues to paint 
genre subjects with invariable skill and _ sentiment. 
He received a medal at the Exposition in 1878, and was 
made Chevalier of the Legion of Honor in 1895. 


THE FAIR ANGLER 13 


FEEDING THE PIGEONS Lh 


THE FAREWELL yo * 


si > 


a lithographer, and for many years drew on 
Agey ie a But he was not satisfied with, 


te cer « and was eer a member of the Acad-  _ . 
of Antwerp and Brussels. He was made Chevalier ; 3 
on r of Leopold, received a medal at the Ex- ‘ae 
~ posi ition in 1855, and was made Chevalier of the Legion 


f of Honor. Died i in 1877. 


37 oe 


| oar HER °S PRESENT 40 


MADRAZO, RAIMUNDO DE 


__- Born at Rome in 1841. His father and his grand- 
a father before him were artists, his brother is an artist, 
and Fortuny was his brother-in-law, so he may be said 
mae to have been born and bred in the profession. He stud- 
_ jed first with his father, who was at the head of the 
_ Madrid Academy, and then went to Paris, entered the 
Ecole des Beaux Arts under Cogniet and studied later 
a under Winterhalter. Intimately associated with the 


famous group of Spanish-French painters of whom For- a A 3 
tuny was the chief, he has made a wide reputation for — ae 
skilful technique and vivacity of color. His first great __ of 
success was made at Paris at the Exposition in 1878, | re} 
where he received a first-class medal and was made a 


Chevalier of the Legion of Honor. At the Exposition 


of 1889 he received a medal and was made Officer of the __ -. 


Legion of Honor. 


A GUITAR-PLAYER en Be 


MAUVE, ANTON 


Born at Zaandam, Holland, in 1838. He was a 
pupil of P. F. Van Os, and from his master acquired the 
habit of painstaking finish which is exemplified in his” 
early works. But after leaving his master he speedily 
acquired a more free and broad manner, and his work 
gained also in sentiment and refinement of tone. Both 
in water color and in oil he has rendered the charm of 
Holland and of Dutch life in an individual and sym- 
pathetic way, and his pictures are full of subtle quali- 
ties which are eminently personal. He received medals 
at the Vienna, Philadelphia, Amsterdam, Antwerp and 
Paris Expositions. Died in 1888. 


CATTLE AND LANDSCAPE 28 


MEY VON BREMEN, JOHAN GEORG 


y 
oy ig ie 


. but he was called von Bremen from his birth- 


Kd 


opie ae his kites studies in his native 


- After leaving the Academy he painted, at 
¢ ites religious pictures, and then turned his atten- 

tio m gradually to peasant genre, taking his subjects 
_ from: life in the valleys of the Bavarian and Swiss moun- 
; ains, “where he was a frequent traveller. He was a most 
popular painter, and was a highly esteemed professor 
in the Academy at Berlin. Among other honors he was 
made a Member of the Amsterdam Academy, and he re- 
Bi ceived the gold eda of Prussia in 1850, and other 
a medals i in Berlin, Philadelphia, etc. Died in 1886. 


ee ee ve wea 


: 


: meprra TION | 0 


MICHEL, GEORGES 


Born at Paris in 1763. He had a strange and 


his teens, restored pictures and earned money in various 
other ways to support a large family, and sketched and 
‘i painted whenever he could buy, beg or borrow materials. 
Through all this he had a distinct and individual pur- 
pose in his art, an intention doubtless founded on his 


at Bremen in 1813. His family name was_ 


checkered career, for he ran away with a laundress in’ 


o rn” x : 
Bera sa A ye 


> ea 


% 


#8 


= 
Pos Orc 


<a 
i= xj 
SS eae 


eae’ 
4 oe 


ase 
tee, 


Shia 


study of the old Dutch landscapists, which he carried 3 
out so thoroughly that he, although unrecognized dur- 


ing his life, is now esteemed as the forerunner of Rous- 
seau and of his school. His pictures, which are seldom 
signed, are easily distinguishable from their great 
breadth of effect and solidity of treatment. Died in 
1843, 


LANDSCAPE 68 


LANDSCAPE AND SHEEP 50 


MILLET, JEAN FRANCOIS 


Born at Gruchy, in the Commune of Gréville, France, 
in 1814. He worked on his father’s farm until he was 
twenty years of age, and as he was constantly draw- 
ing in his leisure moments, it was decided that he should 
study art. He consequently went to Cherbourg and be- 
came a pupil of Mouchel and Langlois. He had been in 
Cherbourg but two months when his father died, and 
he was obliged to return to the plough. However, he 
kept on with his drawing, and three years later the 
municipality of Cherbourg voted him a subsidy to pur- 
sue his studies at Paris. He accordingly entered the 
Ecole des Beaux Arts there in the studio of Delaroche. 
But he had no sympathy with academic art, and soon left 
the school and began to paint small pictures. In 1848 
he sold his first picture, “‘ The Winnower,” and went to 
Barbizon. His pictures, at first unrecognized, gradually 


a et ; ; 
Filles attention and esteem, and at ae Expo 


el Pa es 
on 0 Swe 


ot daa in 1867, and was ted Chev- 
pelegion. of of Honor i in 1868. Died 1 in 1875. 


wh 

A a 

es 

ee eet i 
78 


rm at , Leith, Scotland, in 1825. He began life 


a 
Be 
@O: 
em 
ee 
ta 
9 
a 
=e 
- 02 
= 
5 
cor 
oO 
> 
Q 
st) 
ou 
ie} 
als 
te 
5" 
mae) 
aes 
5 
om 
Cc 
é 
a 
_ 
(ar) 


 ecames es the instructor of eae in the high 
ise hoo of his native town, passed some years in Dublin 
Se Pals drawing master and finally settled in London in 

: 1863. He has long been known as a popular painter 
ies oo ae domestic genre subjects, many of them of a humor- 
Bae a ous nature, and is greatly esteemed as a colorist. He is 
a Member of the Royal Scottish Academy and was elected 


van Associate of the aoe Academy in London in 1866. 


aan 


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CLUB LAW 81 


O’NEIL, G. B. 


This artist is one of a few genre painters whose | 
work lends itself particularly to reproduction. Some- ant 
what in the vein of the English painters of the eigh- | i ., 
teenth century, his subjects often recall those of Wilkie - 


and Morland, and are usually popular throne the 1 me iis 
dium of engravings. ; : 


SAMPLING WHEAT “Gs aa 


PALMAROLI, VINCENTE 


Born at Madrid, Spain, in 1835. He studied at ae 
the Academy of Fine Arts, Madrid, under Frederico Oa 
Madrazo, and later continued his studies in Rome, where et 
he became, after some years? residence, the Director of 
the Spanish Academy there. He is well known as a 
portrait painter, but more widely recognized, perhaps, — 
as a painter of historical genre subjects. He received 
a medal at the Exposition at Paris in 1867. 


A PRETTY MODEL 3 84 


PASINI, ALBERTO 


Born at Basseto, Italy, in 1826. He was a pupil of 
Ciceri in Italy, and afterwards a student under Isabey 


ss Be rian eater his: sicabday nadie 
the Orient and spent several years painting 


ue great advantage in an -secol cpeba of his 
characteristic and brilliant pictures. He re- 


: als at Paris: in 1859, 1863, 1864 and 1867 and SS 
lal of Honor at the Exposition in 1878; was Fe 

lier of the Legion of Honor in 1868 and a 
878. _ He received many other distinctions, | 
honorary professor of the Academies of Parma * 
Died in 1899. | 
ANCE TO THE MOSQUE ae ora 


PECRUS, C. 


ts ~ Most. successful painters of historical genre have 

oh 2 ‘Aika with profit the Dutch masters, and this artist is 

Pe ‘no exception to the rule. He has evidently been much 

Bie ‘influenced by Jan Steen, and his work shows a careful 
observation and a calm patience which were distinguish- 
ing pee ites of the Dutch artists. 


THE DOCTOR’S VISIT | 36 


PELOUSE, LEON GERMAIN 


Born at Pierrelaye, France. His career has been 
distinguished by a steadily growing popularity which 
_ has kept pace with his progress, and he has recorded 
many successes in landscape art. He received medals at 
the Salon in 1873 and 1876 and at the Exposition of 
1878, in which year he was made Chevalier of the Legion 
of Honor. Died in 1890. 


EARLY MORNING—FINISTERE 67 


ON THE SEINE | 17 


PERRAULT, LEON BAZILE 


Born at Poitiers, France. He was a student at the 
Ecole des Beaux Arts, and a pupil of Picot and Bougue- 
reau. The influence of the latter master has been the 
stronger, and his pictures are often suggestive of him. 
They are painted with conscientious care, and are usually 
life-sized domestic genre subjects. He exhibited first 
at the Salon in 1861, received medals at the Salon in 
1864 and 1865, and was made Chevalier of the Legion of 
Honor in 1887. 


“WILL YOU HAVE ONE?” 48 


a /POLLET, VICTOR FLORENCE 


ang 
, Born at Paris, France, i in 1811. He studied in the 
e ole 


senate an ae tn: le eh aie tte a seam 


hie 

j 
+ | 

| 


te ee PROTAIS, PAUL ALEXANDRE 


- 
Ads 


eeeemnciiiiiinmiiieinimmene 


a Born at Paris in 1826. He was in a sense court. 
a painter of France, for he was a friend of the Imperial 
a family. When he died, the Empress Eugenie sent the 
following message to the brothers of the painter: “I 
am deeply grieved at the death of your brother. France 

loses in him a distinguished artist, and I a faithful 
friend.” His pictures are comparatively rare,’ and the 
reason for this is given in a letter to an American client, 
written about fifteen years ago, in which he says that he 
has never painted for dealers, but only for public in- 


stitutions and on commissions from Bout: individuals. 
Died i in 1890. 


3 


ae PRISE D'UNE BATTERIE) 94 


{ 
i 
4 
i 

1 {= 


ROUSSEAU, THEODORE 


Born at Paris in 1812. He was the son of a tailor, 
and, having a taste for mathematics, he was intending 
to enter the polytechnic school, but, fortunately for art, 
he entered the Ecole des Beaux Arts instead, and became 


the pupil of Lethiére. Like many others, he could not 


accept the traditions of the Academy, and, leaving the 
school, went direct to nature. He first went to Fontaine- 
bleau in 1833, and in the following year painted the first 
picture which attracted much attention, the “ Cotes de 
Grandville.” During twelve or fifteen years following 
this success he was unrecognized by the artistic institu- 
tion, and it was not until 1855, indeed, that his repu- 
tation was at last established, and he was properly hon- 
ored as a master of the French landscape school. But 
years of poverty and the weariness of his long struggle 
for recognition had told upon his health, and finally he 


broke down under the strain of his wife’s insanity, and 


under the attacks of his opponents in the profession, 
who bitterly resented his success. He received medals at 
the Salon in 1834, 1849 and 1855, and a Grand Medal 
of Honor at the Exposition in 1867. He was made 
Chevalier of the Legion of Honor in 1852. Died in 
1867. 


LANDSCAPE 43 


THE OAK—SUNSET | 46 


PLOUGHING 52 


7] 
fev A. 


"Born i in he province of Murcia, Shain! He went to 
Paris after having made preliminary studies of his pro- 


ion in his own country, and became a pupil of Meis- 
plea style he has followed with success. He has 


ae 


pe MASTERS — 31 oa) 


| - 


SCHREYER, ADOLF | ae 


Poe schools of Stuttgart and Munich. aaa inde- : 
i ean means, he supplemented his studies by frequent ee 
and extensive journeys. In 1848 he travelled through 
- Hungary, Wallachia, where his family had estates, and 
i Southern Russia. In 1854 he followed the Austrian 
army in its march through the Danube principalities, 
; and in the following year accompanied the regiment 
commanded by Prince Taxis to the Crimea. He next 
-wandered through Asia Minor, Egypt and Algeria, and 
finally settled in Paris, where he became closely asso- 
ciated with French art and artists. He received medals 


Ve 
by 


i. 


at the Salon in 1864 and 1865 and the Exposition in 
1867, the Brussels Exposition in 1863, the Vienna Ex- 
position in 1878, and has been given many decorations. 


Died in 1899. 


A SORTIE 99 


SIGNORINI, GIUSEPPI 


This artist, who has devoted himself exclusively to 
costume subjects, has gained a considerable reputation 
for his accurate and vivacious studies of figures, which 
are executed in the so-called Spanish manner. He is 
one of the group of Italian painters who were strongly 
influenced by Fortuny and his associates. 


A BEDOUIN : 19 


SIMONETTI, ATTILIO 


Born at Rome, Italy. _He was one of the coterie of 
Roman painters who fraternized with the Spanish artists 
and who followed closely the methods of the school which 
flourished in Rome during the residence of Fortuny in 
that city. He became a friend and a pupil of Fortuny, 
and founded his style on him, confining himself, how- 
ever, to much less elaborate subjects. He was appointed 


| was strongly influenced, and his first Hanes bore a 
very strong i impression of his admiration for his master. 
| studied i in Paris under Flandrin and Lamothe, and 
“spent years in Paris and in London painting scenes of 
every-day. life, always investing them with his own par-— 
cular charm. For fifteen years or so he was engaged 


in painting a series of water colors illustrating the life 


‘ a: of. Christ. He received a medal at the Salon in 1866. 


a er Died in 1902. 


on THE SERPENTINE Soe 


Taam TROYON, CONSTANT 


- Born at Sévres in 1810. He worked for a while 
‘painting porcelain in the manufactory at Sévres, at the 


same time with Diaz and Dupré, and, like them, soon de- — 
termined to devote himself to landscape art. He studied 
under Riocreux at Paris, and first exhibited at the Salon 
in 1833. Up to the time of his visit to Holland, in 
1847, he painted landscapes exclusively, and became 
well known in this branch of art. His studies in the 
Netherlands apparently changed his purpose thor- 
oughly, and from that time on he made his landscapes 
subordinate to his cattle. His “‘ Oxen Going to Work,” 
now in the Louvre, was painted in 1855, and represents 
him in the apogee of his career. He was a legitimate 
successor of Brascassat, but his art has no rival in its 
grandeur of simplicity, virility and serenity. He re- 
ceived medals at the Salon in 18388, 1840, 1846, 1848 
and 1855, and was made Chevalier of the Legion of 
Honor in 1849. Died in 1865. 


CATTLE 91 


TURNER, JOSEPH MALLORD WILLIAM 


Born in 1775. He showed decided aptitude for 
drawing at a very early age, and, after coloring prints 
and washing in backgrounds for architectural drawings 
for some time, became a student of the Royal Academy 
schools at the age of fourteen years. Up to the year 
1802 he was chiefly occupied with water colors,’ and 
the collection of studies in monochrome, which he called 
** Liber Studiorum,” in imitation of Claude’s “ Liber 


Veritatis,”’? is one of the monuments of his ambition to 


oil, and sate the creeds ere works for ich he 


a famous. | He made various trips to Laas and’ | 


Ge Born i in Rew Jersey in 1855. He graduated as an 
“engineer in the School of Mines, Columbia College, and ee 
Cid landscape painting under A. H. Wyant. He 

has. painted a large number of successful pictures from 

pai _ motives found in this country as well as from subjects 

chosen during his frequent trips abroad. He is a Mem- 

_ ber of the Society of American Artists and an Associate 

of the National Academy of Design. 


are AND PASTURE | 65 


VAN MARCKE, EMILE 


~ 


Born at Sévres in 1827. His father was a landscape 
‘painter of Flemish descent, and his mother a painter of 


® 
flowers. He was a successful art student, and, marry- 
ing early, secured through his father-in-law, who was 
the director of the works at Sévres, the position of deco- 
rator of porcelain, which he occupied for nine years. 


Troyon frequently visited Sevres, made the acquaintance 


of the young porcelain painter and encouraged him to 
study nature. This he finally did, and opened a studio 
in Paris. His early pictures show Troyon’s influence 
very strongly, but the later ones are quite individual, 


and are masterly in drawing, color and arrangement. — 


He received medals at the Salon in 1867, 1869 and 1870, 
and at the Exposition in 1878. He was made Chevalier 
of the Legion of Honor in 1872. Died in 1891. 


LANDSCAPE AND CATTLE KP OS 


VERBOECKHOVEN, EUGENE JOSEPH 


Born at Warneton, West Flanders, in 1799. His 
father was a sculptor, and he began to learn drawing 
from him. Later he studied in Germany, France, Eng- 
land and Italy, and finally settled in Brussels. He re- 
ceived medals at the Salon in 1824, 1841 and 1855, and 
was made Chevalier of the Legion of Honor in 1845. 
He was a member of the Royal Academies at Brussels, 
Antwerp and St. Petersburg, and received many deco- 
rations. Died in 1881. 


EWE AND LAMB 20 


prt 
mea 


B orn at. Pare in 1840. be adied at the Bee des 
Arts first under Picot and then with Barsias, and 


ti . his attention at et outset of his career to his- 


olive and made a great success of it. He has. 
1 sh mepatation as a painter in water colors, and was 
¢ one e of the leaders i in the movement which resulted in the 
fo uundation of the Society of French Water Color Paint- 


. 
wat TER CARRIER 17 


VOLLON, ANTOINE 


Born at Lyons, 1833. He was a pupil of the Acad- 
emy of Lyons, but spent most of his life in Paris, where 
he came to study under Ribot. Although he is known as 
the master of the art of painting still life, he has achieved 
great success with figures and with landscapes, which he 

first began to exhibit in 1876. He received medals at 

the Salon in 1865, 1868 and 1869, and at the Exposition 


a fe y . - 
be eR Oe eh eS 


in 1878. He was made Chevalier of the Legion of 
Honor in 1870, Officer in 1878 and Member of the 
Institute of France in 1897. Died in 1900. 


STILL LIFE 25 


MOISSONNEUSE ~ 102 


WORMS, JULES 


Born at Paris in 1837. He was a pupil of Lafosse, 
and to his careful training is due the conscientious exe- 
cution which is notable in the genre pictures for which 
this artist is famous. He has never left the field of do- 
mestic and humorous subjects, and is well known for both 
his oil and water-color works. He received medals at the 
Salon in 1868 and 1869, at the Expositions of 1867 and 
1878, and was made Chevalier of the Legion of Honor 
in 1878. : 


THE CHIDING CUPID 12 


ZAMACOIS, EDUARDO 


Born at Bilbao in 1842. He was first a pupil of 
Balaco in his native town, and then of Frederico de 


Madrazo in the Madrid Academy. While he was still a 


Lie 
¥ 
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i 
¢ 
4 
r 


Sera received a medal at the er edttion in 
ed in 1871. eet. 4, 


15 


“Born at Hagenau, Switzerland, in 1815. He stud- 
| at the Munich Academy of Fine Arts, and was chiefly 
‘ae fluenced by Robert Eberle. He painted genre pictures 
Be for a time, and then, in 1844, went to Paris, where he 


passed. two years, chiefly in painting portraits. After 


“pa 
r visiting England and the Netherlands, he returned to 
Munich i in 1847, and devoted himself to painting genre 
subjects, many of them of a humorous character. He 


was elected a Member of the Berlin Academy in 1886. 


THE CONFESSIONAL 62 


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